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+*.md text
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+The Project Gutenberg EBook of Moorish Remains in Spain, by Albert F. Calvert
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: Moorish Remains in Spain
+
+Author: Albert F. Calvert
+
+Release Date: June 18, 2019 [EBook #59776]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MOORISH REMAINS IN SPAIN ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+
+
+
+                       MOORISH REMAINS IN SPAIN
+
+                        [Illustration: CORDOVA.
+
+                              THE MOSQUE.
+
+        Vertical Section of the Dome and Cupola of the Mihrab.]
+
+                            [Illustration:
+
+                                MOORISH
+                                REMAINS
+                               IN SPAIN
+
+                        BEING A BRIEF RECORD OF
+                      THE ARABIAN CONQUEST OF THE
+                      PENINSULA WITH A PARTICULAR
+                       ACCOUNT OF THE MOHAMMEDAN
+                      ARCHITECTURE AND DECORATION
+                     IN CORDOVA, SEVILLE & TOLEDO
+                         BY ALBERT F. CALVERT
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                  NEW YORK: JOHN LANE COMPANY, MCMVI]
+
+
+          E. Goodman and Son, Phœnix Printing Works, Taunton.
+
+
+
+
+                              DEDICATION
+
+                   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 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 Majesty’s gracious permission, by
+
+                    Your Majesty’s humble Servant,
+
+                          ALBERT F. CALVERT.
+
+
+
+
+PREFACE
+
+
+The inception of my work on The Alhambra, to which this book is designed
+to be the companion and complementary volume, was due to the
+disappointing discovery that no such thing as an even moderately
+adequate souvenir of the Red Palace of Granada, “that glorious sanctuary
+of Spain,” was in existence. It was written at a time when I shared the
+very common delusion that the Alhambra was the only word in a vocabulary
+of relics which includes such Arabian superlatives as the Mosque at
+Cordova, the Gates and the Cristo de la Luz of Toledo, and the Alcazar
+at Seville. I had then to learn that while the Alhambra has rightly been
+accepted as the last word on Moorish Art in Spain, it must not be
+regarded as the solitary monument of the splendour and beauty with which
+the Arabs stamped their virile and artistic personality upon Andalus.
+
+In the course of frequent and protracted visits to Spain I came to
+realise that the Moors were not a one-city nation; they did not exhaust
+themselves in a single, isolated effort to achieve the sublimely
+beautiful. Before the Alhambra was conceived in the mind of Mohammed the
+First of Granada, Toledo had been adorned and lost; Cordova, which for
+centuries had commanded the admiration of Europe, had paled and waned
+beside the increasing splendour of Seville; and the “gem of Andalusia”
+itself had been wrested from the Moor by the victorious Ferdinand III.
+But each in turn had been redeemed from Gothic tyranny by the
+art-adoring influence of the Moslem. Their dominion, their politics, and
+their influence is a tale of a day that is dead, but it survives in the
+monuments of their Art, which exist to the glory of Spain and the wonder
+of the world. The Arabian sense of the beautiful sealed itself upon
+Cordova, and made the city its own; it blended with the joyous spirit
+of Seville; it forced its impress upon the frowning forehead of Toledo.
+To see the Alhambra is not to understand the wonders of the Alcazar; the
+study of Moorish wizardry in Toledo does not reveal, does not even
+prepare one, for the bewildering cunning of the Mosque in Cordova.
+
+In Cordova--this gay, vivacious overgrown village, which gleams serene
+in a setting of vineyards and orange groves--the spirit of the Moors
+still breathes. Rome wrested the city from Carthage; the Goths humbled
+it to the dust. But, under the Moors, Cordova became the centre of
+European civilisation, the rival of Baghdad and Damascus as a seat of
+learning, the Athens of the West, and second only in sanctity to the
+Kaaba of Mecca. Its Cathedral first came into being as a temple of
+Janus; it has been both a basilica and a mosque. But the magic art of
+the Mohammedan, which effaced the imprint of the Roman spear, has
+survived the torch of the Holy Inquisition, and to-day Cordova is the
+most exquisitely beautiful Moorish monument in Spain.
+
+In Seville, on the spot where Roman, Visigoth, and Moslem have each in
+turn practised their faith, the Cathedral bells now hang above the
+Arabian tower of the mosque, and the spire of the temple of the faithful
+has become the world-famous Giralda, which dominates the city. Moorish
+fountains and patios are found at Malaga, and Granada, and Toledo, but
+one comes to “La Tierra de Maria Santisima” to see them at their
+loveliest, while the Alcazar is perhaps the best preserved and most
+superbly-decorated specimen of the Moorish citadel-palace that Europe
+has to show.
+
+Menacing, majestic, and magnificent in its strength and splendid
+isolation, Toledo, guarded by its Moorish masonry, a rock built upon a
+rock, has been described by Padilla as “the crown of Spain, the light of
+the world, free from the time of the mighty Goths.” The light of the
+world has dwindled in the socket of modern progress, the Moor has left
+his scars upon the freedom of the Goth; but Toledo, which was old when
+Christianity was born, presents an epitome of the principal arts,
+religions, and races which have dominated the world for the last two
+thousand years.
+
+In the three cities of Cordova, Seville, and Toledo, in which the hand
+of the Moor touched nothing that it did not beautify, I have found the
+supplement to the art wonders that I attempted to describe in my book
+upon the Alhambra; and, encouraged by the cordiality of the welcome
+extended to that volume in Spain and America, as well as in this
+country, I have followed the course which I therein adopted, of making
+the letterpress subservient to the illustrations. While immersed in
+authorities, and tempted often by the beauties of the scenes to indulge
+the desire to emotionalise in words, I have never permitted myself to
+forget that my purpose has been to present a picture rather than to
+chronicle the romance of Spanish-Morisco art.
+
+For the historical data, and some of the descriptions contained in this
+book, I have levied tribute on a large number of authors. Don Pascual de
+Gayángos, the renowned translator of Al-Makkari; the _Handbook_ and the
+_Gatherings_ of Richard Ford; William Stirling-Maxwell’s _Don John of
+Austria_; _The History of the Conquest of Spain_, by Henry Coppeé;
+Washington Irving’s _Conquest of Granada_; Miss Charlotte Yonge’s
+_Christians and Moors in Spain_; Stanley Lane-Poole’s _The Moors in
+Spain_; the writings of Dr. R. Dozy, of Leipsic; Muhammed Hayat Khan’s
+_Rise and Fall of the Muslim Empire in Spain_; Hannah Lynch’s _Toledo_;
+Walter M. Gallichan’s _Seville_; _The Latin-Byzantine Monuments of
+Cordova_; _Monumentos Arquitectonicos de España_; Pedro de Madrazo’s
+_Sevilla_--these, and many less important writers on Spain, have been
+consulted.
+
+But with this wealth of literary material to hand, I have remembered
+that it is my collection of illustrations, rather than on the written
+word, that I must depend. From the nature of Arabian art, and the
+characteristic minuteness of the details of which Morisco decoration is
+composed, lengthy descriptions of architecture, unaccompanied by
+illustrations, become not only tedious but positively confusing to the
+reader, while, on the other hand, a sufficiency of illustrations renders
+exhaustive descriptions superfluous. I have striven to do justice to the
+subject in this direction, not without hope of achieving my purpose, but
+with a vast consciousness of the fact that, neither by camera, nor
+brush, nor by the pen, can one reflect, with any fidelity, the effects
+obtained by the Moorish masters of the Middle Ages. In their art we find
+a sense of the mysterious that appeals to one like the glint of
+moonlight on running water; an intangible spirit of joyousness that one
+catches from the dancing shadows of leaves upon a sun-swept lawn; and an
+elusive key to its beauty, which is lost in the bewildering maze of
+traceries and the inextricable network of designs. The form, but not the
+fantasy, of these fairy-like, fascinating decorations may be reproduced,
+and this I have endeavoured to do.
+
+A. F. C.
+
+
+“ROYSTON,” HAMPSTEAD, N. W.
+
+    1905.
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+CORDOVA
+                                                                    PAGE
+
+THE MOSQUE--PRINCIPAL NAVE OF THE MIHRAB                               9
+
+THE MOSQUE--ENTRANCE TO THE MIHRAB                                    10
+
+GATES OF PARDON                                                       11
+
+VIEW OF THE CITY AND BRIDGE SOUTH OF THE GUADALQUIVIR                 12
+
+GENERAL VIEW OF THE INTERIOR OF THE MOSQUE                            12
+
+FAÇADE AND GATE OF THE ALMANZOR                                       13
+
+VIEW OF INTERIOR OF THE MOSQUE 961-967                                14
+
+THE MOSQUE--PLAN IN THE TIME OF THE ARABS 786-796, 961-967, 988-1001,
+1523-1593                                                             15
+
+THE MOSQUE--PLAN IN ITS PRESENT STATE, 786-796, 961-967, 988-1001,
+1523-1593                                                             16
+
+ANCIENT ARAB TOWER, NOW THE CHURCH OF ST. NICHOLAS DE LA VILLA        25
+
+ORANGE COURT IN THE MOSQUE, MOORISH STYLE, BUILT 957, BY SAID BEN
+AYOUT                                                                 26
+
+EXTERIOR OF THE MOSQUE                                                27
+
+THE MOSQUE--SECTION OF THE MIHRAB                                     28
+
+THE MOSQUE--PORTAL ON THE NORTH SIDE, MOORISH STYLE, BUILT UNDER
+HAKAM III., 988-1001                                                  45
+
+EXTERIOR VIEW OF THE MOSQUE                                           47
+
+EXTERIOR ANGLE OF THE MOSQUE                                          49
+
+THE EXTERIOR OF THE MOSQUE                                            51
+
+THE BRIDGE                                                            55
+
+VIEW OF THE MOSQUE AND THE BRIDGE                                     57
+
+SECTION OF THE MOSQUE OF CORDOVA ON THE LINE OF THE PLAN L. M.        59
+
+SECTION OF THE MOSQUE OF CORDOVA ON THE LINE OF THE PLAN N. O.        59
+
+THE GATES OF PARDON                                                   61
+
+A VIEW IN THE GARDEN BELONGING TO THE MOSQUE                          65
+
+THE MOSQUE--LATERAL GATE                                              67
+
+INTERIOR OF THE MOSQUE, OR CATHEDRAL                                  69
+
+INTERIOR OF THE MOSQUE, MOORISH STYLE, BUILT 961-967. UNDER HAKAM II. 71
+
+THE MOSQUE                                                            75
+
+THE MOSQUE--INTERIOR VIEW                                             77
+
+INTERIOR VIEW OF THE MOSQUE                                           79
+
+THE MOSQUE--GENERAL VIEW OF THE INTERIOR                              81
+
+THE CENTRAL NAVE OF THE MOSQUE--961-967                               85
+
+THE MOSQUE--CHIEF ENTRANCE                                            87
+
+INTERIOR VIEW OF THE CATHEDRAL                                        89
+
+INTERIOR OF THE MOSQUE--LATERAL NAVE                                  91
+
+INTERIOR OF THE MOSQUE--EAST SIDE                                     91
+
+THE MOSQUE--DETAIL OF THE GATE                                        95
+
+THE MOSQUE--FAÇADE OF THE ALMANZOR                                    95
+
+VIEW IN THE MOSQUE--961-967                                           97
+
+THE MOSQUE--A GATE ON ONE OF THE LATERAL SIDES                        99
+
+THE MOSQUE--SIDE OF THE CAPTIVE’S COLUMN                             101
+
+MOSQUE, NORTH SIDE--EXTERIOR OF THE CHAPEL OF ST. PEDRO              105
+
+GENERAL VIEW OF THE INTERIOR OF THE CHAPEL OF THE MASURA AND ST.
+FERDINAND                                                            107
+
+DETAIL OF THE CHAPEL OF MASURA                                       109
+
+THE MOSQUE--ELEVATION OF THE GATE OF THE SANCTUARY OF THE KORAN      111
+
+THE MOSQUE--GATE OF THE SANCTUARY OF THE KORAN                       115
+
+THE MOSQUE--MOSAIC DECORATION OF THE SANCTUARY, 965-1001             117
+
+THE MOSQUE--RIGHT-HAND SIDE GATE WITHIN THE PRECINCTS OF THE
+MAKSURRAH                                                            119
+
+THE MOSQUE--SECTION OF THE CUPOLA OF THE MIHRAB                      121
+
+THE MOSQUE--DOME OF THE SANCTUARY                                    125
+
+THE MOSQUE--ROOF OF THE CHAPEL OF THE MASURA AND ST. FERDINAND       127
+
+VILLAVICIOSA CHAPEL                                                  129
+
+THE MOSQUE--DETAIL OF THE HALL OF CHOCOLATE                          131
+
+ENTRANCE TO THE VESTIBULE OF THE MIHRAB                              135
+
+MIHRAB OR SANCTUARY OF THE MOSQUE                                    137
+
+THE MOSQUE--ARCH AND FRONT OF THE ABD-ER-RAHMAN AND MIHRAB CHAPELS   139
+
+ENTRANCE TO THE CHAPEL OF THE MIHRAB                                 141
+
+VIEW OF THE INTERIOR OF THE MIHRAB CHAPEL                            145
+
+THE MOSQUE--DETAILS OF THE INTERIOR OF THE CHAPEL OF THE MIHRAB      147
+
+THE MOSQUE--MARBLE SOCLE IN THE MIHRAB                               149
+
+BASEMENT PANEL OF THE FAÇADE OF THE MIHRAB                           151
+
+THE MOSQUE--FRONT OF THE TRASTAMARA CHAPEL                           155
+
+GENERAL VIEW OF THE CHAPEL OF VILLAVICIOSA                           157
+
+NORTH ANGLE OF THE CHAPEL OF VILLAVICIOSA                            159
+
+VILLAVICIOSA CHAPEL                                                  161
+
+THE MOSQUE--CHAPEL OF VILLAVICIOSA                                   165
+
+ARAB TRIBUNE, TO-DAY THE CHAPEL OF VILLAVICIOSA, LEFT SIDE           167
+
+ANCIENT INSCRIPTION OF THE TIME OF KHALIFATE, FOUND IN AN EXCAVATION  169
+
+THE MOSQUE--CHAPEL OF TRASTAMARA, SOUTH SIDE                         171
+
+THE MOSQUE--DETAIL OF THE TRASTAMARA CHAPEL                          171
+
+THE MOSQUE--INTERIOR OF THE MIHRAB                                   175
+
+THE MOSQUE--ARAB ARCADE ABOVE THE FIRST MIHRAB                       175
+
+THE MOSQUE--DETAILS, ARCHES OF THE MIHRAB                            177
+
+THE MOSQUE--DETAIL OF THE MIHRAB                                     177
+
+THE MOSQUE--EXTERIOR OF THE CHAPEL OF THE MIHRAB                     179
+
+THE MOSQUE--GATE OF THE SULTAN                                       179
+
+PRINCIPAL ENTRANCE TO THE MOSQUE                                     181
+
+THE MOSQUE--DETAIL NEAR THE MIHRAB                                   181
+
+THE GATES OF PARDON                                                  185
+
+THE BISHOP’S GATE                                                    185
+
+THE MOSQUE--PILASTERS AND ARABIAN BATHS                              187
+
+INSCRIPTIONS AND ARABIAN CHAPTERS                                    191
+
+THE MOSQUE--A CUFIC INSCRIPTION IN THE PLACE APPROPRIATED TO THE
+PERFORMANCE OF ABLUTIONS                                             193
+
+ARABIC INSCRIPTIONS                                                  195
+
+A CUFIC INSCRIPTION ON THE ADDITIONS MADE TO THE MOSQUE, BY ORDER OF
+THE KHALIF AL-HAKAM                                                  197
+
+THE BRIDGE ACROSS THE GUADALQUIVIR, WITH A VIEW OF THE CATHEDRAL
+(MEZQUITA). THE SCENE AS IT APPEARED IN 1780. FROM _Antigüedades
+Arabes de España_. MADRID, 1780, FOL.                                201
+
+VIEW OF CORDOVA CATHEDRAL (MEZQUITA), AS IT APPEARED IN 1780. FROM
+_Antigüedades Arabes de España_. MADRID, 1780, FOL.                  203
+
+WALL OF THE MOSQUE                                                   205
+
+FAÇADE OF THE MIHRAB                                                 207
+
+THE MOSQUE--ARCH OF ONE OF THE GATES                                 211
+
+THE MOSQUE--LATTICE                                                  213
+
+THE MOSQUE--ORNAMENTAL ARCHED WINDOW                                 217
+
+THE MOSQUE--CAPITALS OF THE ENTRANCE ARCH                            219
+
+DETAILS OF THE FRIEZE                                                221
+
+PLAN                                                                 221
+
+KEYSTONE OF ORNAMENTAL ARCH                                          221
+
+DETAILS OF THE CORNICE                                               223
+
+CAPITAL OF ARCH                                                      227
+
+SIDE VIEW OF THE CORNICE                                             227
+
+BASES                                                                227
+
+EAST FAÇADE, WITHOUT THE PORTICO                                     229
+
+
+SEVILLE
+
+FAÇADE OF THE ALCAZAR                                                241
+
+ALCAZAR--GATES OF THE PRINCIPAL ENTRANCE                             243
+
+FAÇADE OF THE ALCAZAR                                                247
+
+CHIEF ENTRANCE TO THE ALCAZAR, MOORISH STYLE, BUILT UNDER DON
+PEDRO I. THE CRUEL, 1369-1379                                        249
+
+ALCAZAR--PRINCIPAL FAÇADE                                            253
+
+INTERIOR COURT OF THE ALCAZAR                                        255
+
+ALCAZAR--ARCADE IN THE PRINCIPAL COURT                               259
+
+ALCAZAR--VIEW OF THE INTERIOR                                        261
+
+ALCAZAR--COURT OF THE DOLLS                                          265
+
+ALCAZAR--COURT OF THE DOLLS, MOORISH STYLE, BUILT 1369-1379          267
+
+ALCAZAR--THE COURT OF THE DOLLS                                      271
+
+ALCAZAR--RIGHT ANGLE OF THE COURT OF THE DOLLS                       273
+
+ALCAZAR--COURT OF THE DOLLS                                          277
+
+ALCAZAR--UPPER PART OF THE COURT OF THE DOLLS                        279
+
+ALCAZAR--UPPER PORTIONS OF THE COURT OF THE DOLLS                    283
+
+ALCAZAR--COURT OF THE DOLLS                                          285
+
+ALCAZAR--THE LITTLE COURT                                            289
+
+ALCAZAR--VIEW IN THE LITTLE COURT                                    291
+
+ALCAZAR--VIEW OF THE HALL OF AMBASSADORS FROM THE LITTLE COURT       295
+
+ALCAZAR--HALL OF AMBASSADORS                                         297
+
+ALCAZAR--INTERIOR OF THE HALL OF AMBASSADORS                         301
+
+ALCAZAR--THE HALL OF AMBASSADORS                                     303
+
+ALCAZAR--THRONE OF JUSTICE                                           307
+
+ALCAZAR--HALL OF AMBASSADORS                                         307
+
+ALCAZAR--FAÇADE OF THE COURT OF THE VIRGINS                          309
+
+ALCAZAR--INTERIOR OF THE COURT OF THE VIRGINS, MOORISH STYLE, BUILT
+1369-1379                                                            313
+
+ALCAZAR--GENERAL VIEW OF THE COURT OF THE HUNDRED VIRGINS            315
+
+ALCAZAR--COURT OF THE HUNDRED VIRGINS                                319
+
+ALCAZAR--COURT OF THE VIRGINS                                        321
+
+ALCAZAR--GALLERY IN THE COURT OF THE HUNDRED VIRGINS                 325
+
+ALCAZAR--THE SULTANA’S APARTMENT AND COURT OF THE VIRGINS            327
+
+ALCAZAR--ENTRANCE TO THE SLEEPING SALOON OF THE MOORISH KINGS        331
+
+ALCAZAR--DORMITORY OF THE KINGS                                      333
+
+ALCAZAR--THE DORMITORY                                               337
+
+ALCAZAR--FRONT OF THE SLEEPING SALOON OF THE MOORISH KINGS           339
+
+ALCAZAR--SLEEPING SALOON OF THE MOORISH KINGS                        339
+
+ALCAZAR--ROOM OF THE INFANTA                                         343
+
+ALCAZAR--COLUMNS WHERE DON FADRIQUE WAS MURDERED                     345
+
+ALCAZAR--GATE OF THE HALL OF SAN FERNANDO                            349
+
+ALCAZAR--GALLERY OF HALL OF SAN FERNANDO                             349
+
+ALCAZAR--HALL IN WHICH KING SAN FERNANDO DIED                        351
+
+ALCAZAR--ROOM OF THE PRINCE                                          355
+
+ALCAZAR--VIEW OF THE GALLERY FROM THE SECOND FLOOR                   357
+
+TOWER OF THE GIRALDA                                                 361
+
+DETAILS OF THE GIRALDA TOWER                                         363
+
+COURT OF THE HOUSE OF PILATOS                                        367
+
+COURT OF THE HOUSE OF PILATOS                                        369
+
+HOUSE OF PILATOS--VIEW IN THE COURT BY THE DOOR OF THE CHAPEL        373
+
+HOUSE OF PILATOS--CHAPEL                                             375
+
+GALLERY OF THE HOUSE OF PILATOS                                      376
+
+GALLERY OF THE COURT OF THE HOUSE OF PILATOS                         381
+
+COURT OF THE PALACE OF MEDINA-CŒLI                                   385
+
+
+TOLEDO
+
+SANTA MARIA LA BLANCA--INTERIOR, 1100-1150                           395
+
+THE GATE OF BLOOD                                                    399
+
+INTERIOR OF SANTA MARIA LA BLANCA                                    405
+
+GATE OF THE SUN                                                      409
+
+DOOR OF THE HALL OF MESA                                             413
+
+EXTERIOR OF THE CHAPEL OF CHRISTO DE LA VEGA                         413
+
+ANCIENT GATE OF VISAGRA                                              419
+
+CASTLE OF ST. SERVANDO                                               419
+
+MOORISH SWORD                                                        423
+
+ARAB FRAGMENT AT TARRAGONA                                           429
+
+ANCIENT ARABIAN BATHS AT PALMA, MAJORCA                              435
+
+
+MOORISH DESIGNS AND ORNAMENTS
+
+DESIGNS AND ORNAMENTS                                            447-494
+
+DESCRIPTION OF THE PLATES--HEXAGONAL FAMILY                      495-586
+
+
+
+
+LIST OF COLOURED PLATES
+
+
+PLATE.  DESCRIPTION.
+
+FRONTISPIECE--VERTICAL SECTION OF THE DOME AND CUPOLA OF THE
+MIHRAB. CORDOVA.
+
+I. SHELL-LIKE ORNAMENTS IN THE CUPOLA OF THE MIHRAB. CORDOVA.
+
+II. SHELL-LIKE ORNAMENTS IN THE CUPOLA OF THE MIHRAB. CORDOVA.
+
+III. SHELL-LIKE ORNAMENTS IN THE CUPOLA OF THE MIHRAB. CORDOVA.
+
+IV. PART OF THE ORNAMENTATION AND KEYSTONE OF ONE OF THE LOWER
+ARCHES, WHICH GIVES LIGHT TO THE DOME. CORDOVA.
+
+IV. RING OF THE CUPOLA.
+
+V. CURVILINEAL TRIANGLES, RESULTING FROM THE INTERSECTION OF THE
+ARCHES SUSTAINING THE DOME. CORDOVA.
+
+V. SETTING OF THE ARCHES SUSTAINING THE DOME. CORDOVA.
+
+V. SETTING OF THE ARCHES SUSTAINING THE DOME. CORDOVA.
+
+VI. ORNAMENT RUNNING BELOW THE CUPOLA. CORDOVA.
+
+VI. ORNAMENT RUNNING BELOW THE CUPOLA. CORDOVA.
+
+VI. SETTING OF ONE OF THE LOWER ARCHES, WHICH GIVES LIGHT TO THE
+DOME. CORDOVA.
+
+VII. CURVILINEAL TRIANGLES, RESULTING FROM THE INTERSECTION OF THE
+ARCHES SUSTAINING THE DOME.
+
+VII. ARCHITRAVE OF ONE OF THE ARCHES SUSTAINING THE DOME. CORDOVA.
+
+VIII. DETAILS OF THE GATE OF THE MAKSURRAH. CORDOVA.
+
+IX. ARCHES OF THE PORTAL OF THE MIHRAB. CORDOVA.
+
+X. DETAIL OF THE FRAMING OF THE SIDE GATE. CORDOVA.
+
+X. DETAIL OF THE WINDOW PLACED OVER THE SIDE DOOR. CORDOVA.
+
+X. DETAIL OF THE FRAMING OF THE ARCH OF THE MIHRAB.
+
+XI. WINDOWS IN AN ALCOVE.
+
+XII. ARAB VASE OF METALLIC LUSTRE.
+
+XIII. DETAILS OF THE ARCHES.
+
+XIV. CENTRE PAINTING ON A CEILING.
+
+XV. DIVAN.
+
+XVI. DETAIL OF AN ARCH.
+
+XVII. GATE OF THE MURADA.
+
+XVIII. DETAILS OF THE MIHRAB.
+
+XVIII. DETAIL OF ONE OF THE ARCHES OF THE CUPOLA.
+
+XVIII. MOSAIC KEYSTONES OF THE GREAT ARCH OF THE MIHRAB.
+
+XIX. DETAILS, VILLAVICIOSA CHAPEL AND MIHRAB.
+
+XX. DETAILS OF THE INTERIOR OF THE MOSQUE.
+
+XXI. DETAILS OF THE INTERIOR OF THE MOSQUE.
+
+XXII. DETAILS OF MOORISH WORK.
+
+XXIII. DETAILS, VILLAVICIOSA CHAPEL AND MIHRAB.
+
+XXIV. DETAILS OF MOORISH WORK.
+
+XXV. FRIEZE IN THE HALL OF AMBASSADORS. SEVILLE.
+
+XXV. STUCCO WORK IN THE HALL OF AMBASSADORS. SEVILLE.
+
+XXV. MOSAIC IN THE LARGE COURT. SEVILLE.
+
+XXV. MOSAIC IN THE LARGE COURT. SEVILLE.
+
+XXVI. HALL OF AMBASSADORS--DETAILS. SEVILLE.
+
+XXVII. HALL OF AMBASSADORS--DETAILS. SEVILLE.
+
+XXVIII. HALL OF AMBASSADORS--DETAILS. SEVILLE.
+
+XXIX. BLANK WINDOW.
+
+XXX. SOFFIT OF ARCH.
+
+XXXI. CORNICE AT SPRINGING OF ARCH OF DOORWAY AT ONE OF THE ENTRANCES.
+
+XXXII. BORDERS OF ARCHES.
+
+XXXIII. BORDERS OF ARCHES.
+
+XXXIV. BORDER OF ARCHES.
+
+XXXV. ORNAMENT IN PANELS ON THE WALL.
+
+XXXVI. BANDS, SIDE OF ARCHES.
+
+XXXVII. BANDS, SIDE OF ARCHES.
+
+XXXVIII. ORNAMENTS ON PANELS.
+
+XXXIX. ORNAMENTS ON PANELS.
+
+XL. ORNAMENTS ON PANELS.
+
+XLI. ORNAMENTS ON PANELS
+
+XLII. FRIEZE IN THE UPPER CHAMBER, HOUSE OF SANCHEZ.
+
+XLIII. CORNICE AT SPRINGING OF ARCHES IN A WINDOW.
+
+XLIV. PANELS ON WALLS.
+
+XLV. SPANDRILS OF ARCHES.
+
+XLVI. SPANDRILS OF ARCHES.
+
+XLVII. SPANDRILS OF ARCHES.
+
+XLVIII. PLASTER ORNAMENTS, USED AS UPRIGHT AND HORIZONTAL BANDS
+ENCLOSING PANELS ON THE WALLS.
+
+XLIX. BLANK WINDOW.
+
+L. RAFTERS OF A ROOF OVER A DOORWAY, NOW DESTROYED, BENEATH THE
+TOCADOR DE LA REYNA.
+
+LI. BAND AT SPRINGING OF ARCH AT THE ENTRANCE TO ONE OF THE HALLS.
+
+LII. PANELLING OF A RECESS.
+
+LIII. BLANK WINDOW.
+
+LIV. ORNAMENTS ON THE WALLS, HOUSE OF SANCHEZ.
+
+LV. ORNAMENT IN PANELS ON THE WALLS.
+
+LVI. ORNAMENTS IN SPANDRILS OF ARCHES.
+
+LVII. MOSAIC DADO IN A WINDOW, &C.
+
+LVIII. MOSAIC DADOS ON PILLARS.
+
+LIX. MOSAIC DADOS ON PILLARS.
+
+LX. MOSAICS.
+
+LXI. MOSAIC DADO ROUND THE INTERNAL WALLS OF THE MOSQUE.
+
+LXII. PAINTED TILES.
+
+LXIII. MOSAICS.
+
+LXIV. MOSAICS.
+
+LXV. ORNAMENTS IN PANELS.
+
+LXVI. ORNAMENT OVER ARCHES AT ONE OF THE ENTRANCES.
+
+LXVII. ORNAMENT ON THE WALLS.
+
+LXVIII. ORNAMENT IN PANELS ON THE WALLS.
+
+LXIX. SMALL PANEL IN JAMB OF A WINDOW.
+
+LXX. SMALL PANEL IN JAMB OF A WINDOW.
+
+LXXI. PANEL IN THE UPPER CHAMBER OF THE HOUSE OF SANCHEZ.
+
+LXXII. SPANDRIL FROM NICHE OF DOORWAY AT ONE OF THE ENTRANCES.
+
+LXXIII. LINTEL OF A DOORWAY.
+
+LXXIV. CAPITAL OF COLUMNS.
+
+LXXV. CAPITAL OF COLUMNS.
+
+LXXVI. CAPITAL OF COLUMNS.
+
+LXXVII. SOCLE OF THE ENTRANCE ARCH TO THE ANTE-CHAPEL.
+
+LXXVIII. SOCLE OF THE ENTRANCE ARCH TO THE CHAPEL.
+
+LXXIX. DETAIL OF THE TILES OF THE ALTAR.
+
+LXXX. SOCLE IN THE INTERIOR OF THE CHAPEL.
+
+LXXXI. SOCLE IN THE INTERIOR OF THE CHAPEL.
+
+LXXXII. MOSAICS FROM VARIOUS HALLS.
+
+LXXXIII. MOSAICS FROM VARIOUS HALLS.
+
+LXXXIV. PART OF CEILING OF A PORTICO.
+
+
+
+
+MOORISH REMAINS IN SPAIN
+
+
+
+
+INTRODUCTORY
+
+
+The conquest of Spain by the Moors, and the story comprised in the eight
+centuries during which they wielded sovereignty as a European power,
+forms a romance that is without parallel in the history of the world.
+Under Mohammedan rule Spain enjoyed the first and most protracted period
+of comparative peace and material prosperity she had ever known. She had
+been plundered by Carthage and Phœnicia, ground beneath the iron heel of
+Rome, devastated and enslaved by those Christianised but corrupt
+barbarians, the Visigoths. All the evils and demoralisation arising from
+successive waves of bloody conquest and decadent voluptuousness had been
+sown in the breast of Spain. The squandered might of Carthage had left
+the country a prey to the vigorous Roman; the degenerate Roman had been
+banished by the rugged, victorious Goth, who, after two centuries of
+security and sensual ease, was to be made subject to the warlike and
+enlightened Moor. Once more the land was to be overrun and the face of
+the country was to be scarred with fire and the sword; once more the
+people were to learn to serve new masters and conform to new laws. Of a
+truth the last state must have seemed worse than the first to the
+Romanised Spaniards. Carthage had brought chains, but it had also
+introduced artificers and a form of Government; the Roman eagles had
+been accompanied by Roman engineers and road-builders; the Goths erected
+upon the broken altars of mythology temples to the living God. But it
+now seemed that the whips of ancient foes were to be replaced by the
+scorpions of their new taskmasters; the Christianity which the East had
+sent them was to be uprooted by the Eastern infidels.
+
+Such must have been the prospect before Spain, and even before the rest
+of Europe, when Tarik returned in 710 to Ceuta, from a marauding
+expedition upon the coast of Andalusia, and reported to Musa, the son of
+Noseyr, the Arab Governor of North Africa, that the country was ripe for
+conquest and well worth the hazard of the cast. Twenty years later the
+Moslems had overrun Spain, captured Bordeaux by assault and advanced to
+the conquest of Gaul. It is passing strange to reflect that these
+far-reaching, epoch-making events had not been undertaken as the result
+of a deep-laid scheme of national expansion or religious enterprise.
+According to tradition the foundation of the Moslem supremacy in Spain
+was instigated by the hatred of a single traitor, Count Julian, the
+Governor of Ceuta, and his treachery was inspired by the dishonour of
+one young girl--Julian’s daughter, Florinda.
+
+At the beginning of the eighth century, when the Moors had extended
+their possessions up to the walls of Ceuta, which was held for Roderick,
+King of Spain, by Count Julian, the Count, in accordance with the custom
+among the Gothic nobility, had sent his daughter to the Court of
+Roderick, at Toledo, to be educated among the Queen’s gentlewomen in a
+manner befitting her rank and lineage. The rest is the old story of a
+beautiful, unprotected girl, a lascivious guardian, and a father
+thirsting for vengeance. So far Count Julian had defended Ceuta against
+the Moors with unbroken success, now he came to Toledo to relieve the
+king of the custody of his daughter, and repay the breach of trust which
+Roderick had committed by making a compact with the king’s enemies. On
+the eve of his departure from the capital, the king requested the Count
+to send him some hawks of a special variety that he desired for hunting
+purposes, and the vengeful noble pledged himself to supply his master
+with hawks, the like of which he had never seen.
+
+But Count Julian found the Saracenic hawks less keen for the hunting he
+had in view than he expected. That old bird of prey, Musa, listened to
+the alluring tales of the richness and beauty of Spain, but doubted the
+good faith of his long-time enemy, who proposed that the Moors should
+invade this promised land in Spanish ships, lent to them for the
+purpose. But the love of conquest and the lust of loot, which had
+inspired and sustained the Arab arms in all their territorial campaigns,
+overcame the natural hesitancy of the Moorish Governor, and in 710 Musa
+despatched Tarik with a small expedition to spy out the state of the
+Spanish coast. So successful was the mission, and so rich the plunder
+they brought back, that in the following year he adventured an army of
+7,000 men under Tarik for the spoliation of Andalusia. Tarik, who landed
+at the rock of Gibraltar--Gebal Tarik, which still bears his
+name--captured Carteya, and encountered the army of Roderick, who had
+hurried from the North of his dominions to repel the invaders, on the
+banks of the Guadalete.
+
+Washington Irving, in the _Conquest of Spain_, has related, in his
+brilliantly picturesque style, the old legend of the prophecy of
+Roderick’s overthrow and the mystery surrounding his death. The king was
+proof against the solemn warnings of the old warders of the tower of
+Hercules,--the tower of “jasper and marble, inlaid in subtle devices,
+which shone in the rays of the sun,”--wherein lay the secret of Spain’s
+future, sealed by a magic spell, and guarded by a massive iron gate, and
+secured by the locks affixed to it by every successive Spanish king
+since the days of Hercules. Roderick came not to set a new lock upon
+the gate, but to burst the bolts of the centuries and reveal the mystery
+that his predecessors had gone down into their graves without solving.
+All day long his courtiers urged him vainly against his own undoing, and
+the custodians laboured at the rusty locks, and at evening he entered
+the mighty, outer hall, rushed past the bronze warder, penetrated the
+inner chamber, and read the inscription attached to the casket, which
+Hercules had deposited in the gem-encrusted tower. “In this coffer is
+the mystery of the Tower. The hand of none but a King can open it; but
+let him beware, for wonderful things will be disclosed to him, which
+must happen before his death.” In a moment the lid is prized open, the
+parchment, folded between plates of copper, is brought into the light of
+day, and the king has read the motto inscribed upon the border: “Behold,
+rash man, those who shall hurl thee from thy throne and subdue thy
+Kingdom.”
+
+Beneath the motto is drawn a panorama of horsemen, fierce of
+countenance, armed with bows and scimitars. As the king gazes
+wonderingly upon the picture, the sound of warfare rushes on his ear,
+the chamber is filled with a cloud, and in the cloud the horsemen bend
+forward in their saddles and raise their arms to strike. Amazed and
+terrorised, Roderick and his courtiers drew back and “beheld before them
+a great field of battle, where Christians and Moors were engaged in
+deadly conflict. They heard the rush and tramp of steeds, the blast of
+trump and clarion, the clash of cymbal, and the stormy din of a thousand
+drums. There was the flash of swords and maces and battle axes, with the
+whistling of arrows and hurling of darts and lances. The Christian
+quailed before the foe. The infidels pressed upon them, and put them to
+utter rout; the standard of the Cross was cast down, the banner of Spain
+was trodden under foot, the air resounded with shouts of triumph, with
+yells of fury, and the groans of dying men. Amidst the flying squadrons,
+King Roderick beheld a crowned warrior, whose back was turned towards
+him, but whose armour and device were his own, and who was mounted on a
+white steed that resembled his own war horse, Orelia. In the confusion
+of the fight, the warrior was dismounted and was no longer to be seen,
+and Orelia galloped wildly through the field of battle without a rider.”
+
+The vision he had witnessed in the Tower of Hercules must have recurred
+to Roderick when he saw the Moorish army encamped against him by the
+waters of the Guadalete, but he must have noted its numbers with
+surprise, and contemplated his own host with complacency. For Tarik,
+even with his Berber reinforcements, only counted 12,000 men, and nearly
+four score thousand slept beneath the standard of Spain. If ever
+prophecy was calculated to be found at fault it must have seemed to be
+so that day, and Tarik published his estimate of the enormity of the
+odds that were against him when he cried to his army of fatalists, “Men,
+before you is the enemy, and the sea is at your backs. By Allah, there
+is no escape for you, save in valour and resolution.” But valour and
+resolution belonged to the Spaniards as well as to the Moors; and, but
+for the action of the kinsmen of the dethroned King Witiza, who deserted
+to the side of the Saracens in the midst of the seven day battle, the
+Moorish conquest would have been delayed, if not even entirely
+abandoned. But Witiza’s adherents turned the tide of battle against
+Roderick, the Spaniards broke and fled, and Orelia galloped riderless
+through the field. Tarik, in a single encounter, had won all Spain for
+the infidels.
+
+Without hesitation, and in defiance of the commands of Musa, who coveted
+the glory that his lieutenant had so unexpectedly won, Tarik proceeded
+to make good his mastery of the entire Peninsula. He despatched a force
+of seven hundred horsemen to capture Cordova; Archidona and Malaga
+capitulated without striking a blow; and Elvira was taken by storm. City
+after city surrendered to the victorious invaders, and the principles of
+true chivalry, which the Moors invariably observed, reconciled the
+vanquished Spaniards to their new conquerors. The common people welcomed
+the promise of a new era, while the nobles fled before the advancing
+armies, and abandoned the country to the enemy. With the surrender of
+Toledo, Tarik had added a new dominion to the crown of Damascus. Musa
+left Ceuta in 712 with 18,000 men to join Tarik at Toledo, taking
+Seville, Carmona, and Merida _en route_. The meeting of the Governor and
+his General at the capital revealed the first flash of that fire of
+personal jealousy and internecine conflict which kept Spain in a blaze
+throughout the eight centuries of the Moorish occupation.
+
+To the intrepid warriors, who were bred to war and trained to the
+business of conquest, the Pyrenees represented, not a bar to further
+progress, but a bulwark from which they were to advance to the
+subjugation of Europe. The total defeat of the Saracens under the walls
+of Toulouse by the Duke of Aquitana in 721 turned their course
+westwards; and after occupying Carcasonne and Narbonne, raiding Burgundy
+and carrying Bordeaux by assault, they suffered a decisive defeat at the
+hands of the Franks, under Charles Martel, at the Battle of Tours in
+733. The tide of Arabian aggression was arrested and rolled back; and
+although the Moors repulsed the Frankish invasion of Spain under
+Charlemagne, a bound had been put upon their empire-building ambitions,
+and they set themselves resolutely to accomplish the pacification of the
+kingdom they had already won. It is the boast of the Northern
+Spaniards, the hardy mountaineers of Galicia and Leon, of Castile and
+the Biscayan provinces, that they were never subject to Moslem rule.
+There is good warrant for their claim, and in truth the independence of
+the North was maintained, but the fact remains that the Moors had no
+desire for those bleak and unfruitful districts; and so long as the
+savage Basques did not disturb the security of Arabian tenure in the
+fertile South, they were left in the enjoyment of their dreary, frozen
+fastnesses, and their wind-swept, arid wastes.
+
+The Moors had made themselves secure in the smiling country that,
+roughly speaking, lies South of the Sierra de Guadarrama; and here, with
+a genius and success that was unprecedented, they organised the Kingdom
+of Cordova. “It must not be supposed,” writes Mr. Stanley Lane-Poole,
+“that the Moors, like the barbarian hordes who preceded them, brought
+desolation and tyranny in their wake. On the contrary, never was
+Andalusia so mildly, justly, and wisely governed as by the Arab
+conquerors. Where they got their talent for administration it is hard to
+say, for they came almost direct from their Arabian deserts, and their
+rapid tide of victories had left them little leisure to acquire the art
+of managing foreign nations. Some of their Counsellors were Greeks and
+Spaniards, but this does not explain the problem; for these same
+Counsellors were unable to produce similar results elsewhere; all the
+administrative talent of Spain had not sufficed to make the Gothic
+domination tolerable to its subjects. Under the Moors, on the other
+hand, the people were on the whole contented--as contented as any people
+can be whose rulers are of a separate race and creed--and far better
+pleased than they had been when their sovereigns belonged to the same
+religion as that which they nominally professed. Religion was, indeed,
+the smallest difficulty which the Moors had to contend with at the
+outset, though it had become troublesome afterwards. The Spaniards were
+as much pagan as Christian; the new creed promulgated by Constantine had
+made little impression among the general mass of the population, who
+were still predominantly Roman. What they wanted was--not a creed, but
+the power to live their lives in peace and prosperity. This their
+Moorish masters gave them.”
+
+The people were allowed to retain their own religion and their own laws
+and judges; and with the exception of the poll tax, which was levied
+only upon Christians and Jews, their imposts were no heavier than those
+paid by the Moors. The slaves were treated with a mildness which they
+had never known under the Romans or the Goths, and, moreover, they had
+only to make a declaration of Mohammedanism--to repeat the formula of
+belief, “There is no God but God, and Mohammed is His Prophet”--to gain
+their freedom. By the same simple process, men of position and wealth
+secured equal rights with their conquerers. But while the Moors thus
+practised the science of pacification, they were unable to conquer their
+own racial instincts, which found their vent in jealous blood feuds and
+ceaseless internal conflicts. In the field the Arabs were a united
+people; under stress of warfare their rivalries were forgotten; but the
+racial spirit of the conquerors reasserted itself when the stress of
+conquest gave place to “dimpling peace,” and government by murder
+created constant changes in the administration. The Arabs and the
+Berbers, though they may be regarded as one race in their domination of
+Spain, were two entirely distinct and fiercely hostile tribes. The
+Berbers of Tarik had accomplished the conquest of Spain, but the Arabs
+arrived in time to seize the lion’s share of the spoils of victory; and
+when the Berber insurrection in
+
+[Illustration: CORDOVA
+
+THE MOSQUE--PRINCIPAL NAVE OF THE MIHRAB.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--ENTRANCE TO THE MIHRAB.]
+
+[Illustration: CORDOVA
+
+GATES OF PARDON]
+
+[Illustration: VIEW OF THE CITY AND BRIDGE SOUTH OF THE GUADALQUIVIR]
+
+[Illustration: GENERAL VIEW OF THE INTERIOR OF THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+FAÇADE AND GATE OF THE ALMANZOR.]
+
+[Illustration: CORDOVA
+
+VIEW OF INTERIOR OF THE MOSQUE 961-967.]
+
+[Illustration: CORDOVA
+
+I.
+
+THE MOSQUE.
+
+PLAN IN THE TIME OF THE ARABS 786-796, 961-967, 988-1001, 1523-1593.
+
+A--Gate of Pardon.
+B--Bell Tower.
+C--Orange Court.
+D--Principal Entrance.
+E--Mosque of the time 786-796.
+
+F--Tribunal where the Mufti prays.
+G--Portion of the time 961-967.
+H--Hall where the Koran is kept.
+I--Sanctuary.
+K--Portion added in 988-1001.]
+
+[Illustration: CORDOVA
+
+II.
+
+THE MOSQUE--PLAN IN ITS PRESENT STATE.
+
+786-796, 961-967, 988-1001, 1523-1593.
+
+L--Principal Chapel.
+M--Choir.
+N--First Christian Church.
+O--Chapels.
+P--The Cardinal’s Chapel.]
+
+North Africa triumphed, their Berber brethren, who had been relegated to
+the least congenial districts of Estremadura, roused themselves to
+measures of retaliation, and carried their standards to the gates of
+Toledo and Cordova. In alarm, the Arab Governor of Andalusia sent for
+his compatriots of Ceuta to aid him, and he expiated his folly with his
+life. The African contingent routed the Berbers, murdered the Arab
+Governor, and set up their own chief in his place, until Abd-er-Rahman
+arrived from Damascus to unite all factions, for a while, under the
+standard of the Sultan of Cordova.
+
+Abd-er-Rahman, which signifies “Servant of the Merciful God,” was a
+member of the deposed family of the Omeyyads, which had given fourteen
+khalifs to the throne of Damascus. The usurping khalif, Es-Deffah, “The
+Butcher,” who founded the dynasty of the Abbasides, practically
+exterminated the Omeyyad family, but Abd-er-Rahman eluded his vigilance,
+and, after abandoning a project to make himself the Governor of North
+Africa, he determined to carry his princely pretensions to the
+newly-founded Spanish dominions. In Andalusia, the advent of the
+Omeyyads was hailed with enthusiasm. The army of the Governor deserted
+to the standard of the young pretender; Archidona and Seville were
+induced to throw open their gates to him by a piece of questionable
+strategy; he defeated the troops that opposed his march upon Cordova,
+and before the end of the year 756, or some fifteen months after setting
+foot in the country, all the Arab part of Spain had acknowledged the
+dynasty of the Omeyyads, which for three centuries was to endure in
+Cordova. Brave, unscrupulous, and instant in action, Abd-er-Rahman had
+recourse to every wile of diplomacy, of severity, and of valour to
+maintain his supremacy in Spain. He defeated and utterly annihilated an
+invading army sent against him by the Abbaside khalif, Mansur, and sent
+a sackful of the heads of his generals as a present to their master; he
+won over the people of Toledo by false promises, and crucified their
+leaders; he had the Yemenite chief assassinated while receiving him as
+an honoured guest; he crushed a revolt of the Berbers in the North, and
+of the Yemenites in the South; he saw the forces of Charlemagne waste
+away in the bloody fastnesses of the Pyrenees. By treachery and the
+sword, by false oaths and murder, he triumphed over every rival and
+enemy until all insurrection had been crushed by his relentless might,
+and the Khalif Mansur was fain to exclaim: “Thank God, there is a sea
+between that man and me.” In an eloquent tribute to his “daring, wisdom,
+and prudence,” his old-time enemy thus extolled the genius of the
+conqueror: “To enter the paths of destruction, throw himself into a
+distant land, hard to approach and well defended, there to profit by the
+jealousies of the rival parties to make them turn their arms against one
+another instead of against himself, to win the homage and obedience of
+his subjects, and having overcome every difficulty, to rule supreme lord
+of all! Of a truth, no man before him has done this!”
+
+But the tyrant of Spain was to pay a great and terrible price for his
+triumphs. He had established himself in a kingdom in which he was to
+stand alone. Long before his death he found himself forsaken by his
+kinsmen, deserted by his friends, abhorred by his enemies; on all sides
+detested and avoided, he immured himself in the fastnesses of his
+palace, or went abroad surrounded by a strong guard of hired
+mercenaries. His son and successor, Hisham, practised during the eight
+years of his reign an exemplary piety, and so encouraged and cherished
+the theological students and preceptors of Cordova, that they rebelled
+against the light-hearted, pleasure-loving Hakam, who succeeded him,
+and incited the people to open rebellion.
+
+But while the insurrectionists besieged the palace, the Sultan’s
+soldiers set fire to a suburb of the city; and when the people retired
+terror stricken to the rescue of their homes and families, they found
+themselves between the palace garrison and the loyal incendiaries. The
+revolt ended in a massacre, but the dynasty was saved, and the palace
+was preserved to become the nucleus of the gorgeous city which Hakam’s
+son, Abd-er-Rahman II., was to fashion after the style of
+Harun-er-Rashid at Baghdad. Under this æsthetic monarch, Cordova became
+one of the most beautiful cities in the world. Its palaces and gardens,
+its mosques and bridges were the wonder of Europe; its courtiers made a
+profession of culture; its arbiter of fashion again asserted himself as
+the first man in the empire.
+
+In such a city, and at such an epoch, it was natural, even inevitable,
+that Christianity should assert itself as a protest against the fashion
+of the age. But so tolerant was the Mohammedan rule in religious
+matters, that the too exalted spirit of the Cordovan Christians was hard
+put to it to find some excuse for its manifestation of discontent. While
+the sultan and his nobles found their pleasure in music, poetry, and
+other æsthetic if less commendable indulgences, the prejudices of the
+devout were always respected. Prosecution for religious convictions was
+unheard of, and the only way that the Christians could achieve martyrdom
+for their faith was by blaspheming the creed of their Moslem rulers.
+These early fanatics, whose religious rites and beliefs had been treated
+with respect by the Mohammedans, and who knew that by Moslem law he who
+blasphemes the Prophet Mohammed or his religion must die, voluntarily
+transgressed the law for the purpose of achieving their object. In
+spite of warnings, of protests, and of earnest counsel, these suicidal
+devotees cursed the name of the Prophet, and expiated their wilful
+fanaticism with death. With the exception of this period of religious
+mania, which was bewailed by the general body of Christians, and
+regarded with unfeigned sorrow by the Mohammedan judges, the tolerance
+of the Moors to the Christians was as unvarying as it was remarkable.
+
+After the execution, in the year 859, of Eulogius, a fanatical priest,
+and the leader of these misguided martyrs, who was fruitlessly entreated
+by his judges to retract his maledictions against the Prophet and be
+restored to freedom, the mad movement flickered and died out. But the
+devotion displayed by the Cordovan Christians had made its effects felt
+in widespread rebellion in the provinces, and a series of incapable
+sovereigns had reduced the throne to the state of an island surrounded
+by a rivulet of foreign soldiers, in a country bristling with faction
+jealousies and discontent. Spain had fallen a prey to anarchy, and the
+end of Mohammedan rule appeared imminent. Petty kings and governors had
+thrown off their allegiance; Berbers, Arabs, Mohammedan Spaniards and
+Christians had each asserted their absolute independence; and the sultan
+at Cordova was “suffering all the ills of beleaguerment.” The last
+vestige of the power of the Omeyyads was falling away when Abd-er-Rahman
+III. came to the throne to reconquer Spain, and bring the rebel nobles
+to their knees. The new sultan was a lad of twenty-one, but he knew his
+countrymen, and he realised that after a century of lawlessness and
+wasting strife, the people were ripe for a strong and effectual
+government. The Cordovans were won by his handsome presence and gallant
+bearing. The boldness of his programme brought him adherents, and the
+weariness of internecine warfare, which had devastated the country,
+prepared the rebellious provinces for his coming. Seville opened her
+gates to receive him, the Prince of Algarve rendered tribute, the
+resistance of the Christians of Regio was overcome, and Murcia
+volunteered its allegiance. Toledo alone, that implacable revolutionist,
+rejected all Abd-er-Rahman’s overtures, and confidently awaited the
+issue of the siege. But the haughty Toledans had not reckoned upon the
+metal of which the new despot was made. Abd-er-Rahman had no stomach for
+the suicidal tactics of scaling impregnable precipices, but he was
+possessed of infinite patience. He calmly set himself to build a town on
+the mountain over against Toledo, and to wait until famine should compel
+the inhabitants to capitulate. With the fall of Toledo, the whole of
+Mohammedan Spain was once more restored to the sultans of Cordova. The
+power, once regained, was never relaxed in the lifetime of
+Abd-er-Rahman. The Christians of Galicia might push southward as far as
+the great Sierra, Ordono II. of Leon might bring his marauding hosts to
+within a few leagues of Cordova, and cause Abd-er-Rahman to exert all
+his personal and military influence to beat back the obstinate
+Northerners, but the stability of the throne was never again imperilled.
+During his fifty years of strenuous sovereignty, the great Abd-er-Rahman
+saved Spain from African invasion and Christian aggression; he
+established an absolute power in Cordova that brought ambassadors from
+every European monarch to his court; and he made the prosperity of
+Andalusia the envy of the civilised world. This wonderful transformation
+was effected by a man whom the Moorish historians describe as “the
+mildest and most enlightened sovereign that ever ruled a country. His
+meekness, his generosity, and his love of justice became proverbial.
+None of his ancestors ever surpassed him in courage in the field, and
+zeal for religion; he was fond of science, and the patron of the
+learned, with whom he loved to converse.”
+
+In 961, Abd-er-Rahman III., the last great Omeyyad Sultan of Cordova,
+died. His son Hakam II. employed the peace which he inherited from his
+illustrious father in the study of books and the formation of a library,
+which consisted of no fewer than four hundred thousand works. But in his
+reign, the note of absolute despotism which had re-established the
+Empire of Cordova, was less evident; and when at his death, his
+twelve-year-old son, Hisham II., ascended the throne, the government was
+ripe for the delegation of kingly power to favourites and ministers. The
+Sultana Aurora, the Queen Mother, had already abrogated that power, and
+was wielding an influence that Abd-er-Rahman III. would not have
+tolerated for an instant, and her favourite--an undistinguished student
+of Cordova, named Ibn-Aby-Amir--was waiting to turn her influence and
+favour to his own advantage. This youth, who is known to history as
+Almanzor, or “Victorious by the grace of God”--a title conceded to him
+by virtue of his many victories over the Christians--was possessed of
+pluck, genius, and ambition in almost equal proportions; and by the
+opportunity for their indulgence which the harem influence afforded, he
+made himself virtual master of Andalusia.
+
+In his capacity of professional letter-writer to the court servants,
+Almanzor won the patronage of the Grand Chamberlain, and his appointment
+to a minor office brought him into personal contact with Aurora--who
+fell in love with the engaging young courtier--and with the princesses,
+whose good graces he assiduously cultivated. His charm of manner and
+unfailing courtesy gained for him the countenance of many persons of
+rank, and his kindness and lavish generosity secured him the allegiance
+of his inferiors. By degrees he acquired a plurality of important and
+lucrative posts; he earned the gratitude of the Queen Mother by
+arranging the assassination of a rival claimant who opposed the
+accession of her son Hisham to the throne; and he volunteered to lead
+the sultan’s army against his insurrectionary subjects of Leon. Almanzor
+was without military training or experience, but he had no misgivings
+upon the score of his own ability, and his faith in himself was
+justified. His victories over the Leonese made him the idol of the army;
+and on the strength of his increased popularity he appointed himself
+Prefect of Cordova, and speedily rendered the city a model of
+orderliness and good government. By a politic impeachment of the Grand
+Chamberlain for financial irregularities, he presently succeeded his own
+patron in the first office in the State, and became supreme ruler of the
+kingdom.
+
+Almanzor had allowed no scruple or fear to thwart him in his struggle
+for the proud position he had attained, and he now permitted nothing to
+menace the power he had so hardly won. He met intrigue with intrigue,
+and discouraged treachery by timely assassination. He placated
+hectoring, orthodox Moslems; he curtailed the influence of his
+formidable rival, Ghalib, the adored head of the army; he conciliated
+the Cordovans by making splendid additions to the mosque; he terrorised
+the now jealous Aurora and the palace party into quiescence; and he kept
+the khalif himself in subjection by the magnetism of his own masterful
+personality. His African campaigns extended the dominion of Spain along
+the Barbary coast, and his periodical invasions of Leon and Castile kept
+the Northern provinces in subjection, and his army contented and rich
+with the spoils of war. The Christians had terrible reason to hate this
+invincible upstart, and it is not surprising to read in the Monkish
+annals, the record of his death transcribed in the following terms: “In
+1002 died Almanzor, and was buried in hell.” But if his death meant hell
+to Almanzor, as the Christians doubtless believed, it meant the
+recurrence of the hell of anarchy for the Kingdom of Spain.
+
+Within half a dozen years of the great Chamberlain’s death, the country
+which had been held together by the might of one man, was torn to pieces
+by jealous and tyrannical chiefs and rebellious tribal warriors. Hisham
+II. was dragged from his harem seclusion, and the reins of Government
+were thrust into his incompetent hands. He failed, and was compelled to
+abdicate, and another khalif was set up in his place. For the next
+twenty years khalifs were enthroned and replaced in monotonous
+succession. Assassination followed coronation, and coronation
+assassination, until the princes of every party looked askance at the
+blood-stained throne, where monarchs and murderers played their several
+intimate parts. Outside the capital, anarchy and devastation was
+ravaging the country. Berbers and Slavs were carrying desolation into
+the South and East of the country, and in the North the Christians were
+uniting to throw off their dependence. Alfonso VI. was selling his aid
+to the rival chieftains in their battles amongst themselves, and storing
+up his subsidies against the day when he would undertake the re-conquest
+of Spain. The Cid had established his Castilian soldiers in Valencia,
+and the voluptuous, degenerate Mohammedan princes were panic-stricken by
+the growing disaffection and the instant danger which they were
+powerless to overcome.
+
+In their extremity they sent for assistance to Africa, where Yusuf, the
+king of a powerful set of fanatics whom the Spaniards named Almoravides,
+had made himself master of the country from Algiers to Senegal. Yusuf
+came with
+
+[Illustration: CORDOVA
+
+ANCIENT ARAB TOWER, NOW THE CHURCH OF ST. NICHOLAS DE LA VILLA.]
+
+[Illustration: CORDOVA
+
+ORANGE COURT IN THE MOSQUE, MOORISH STYLE, BUILT 957, BY SAID BEN
+AYOUT.]
+
+[Illustration: CORDOVA
+
+EXTERIOR OF THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--SECTION OF THE MIHRAB.]
+
+his Berber hosts in 1086, defeated the Christians, under Alfonso, near
+Badajoz, and leaving three thousand of his men to stiffen the ranks of
+the Andalusians in maintaining the struggle, he returned to Africa. Four
+years later the Spanish Mohammedans again besought Yusuf to bring his
+legions against their Christian despoilers, offering him liberal terms
+for his assistance, and stipulating only that he should retire to his
+own dominions as soon as the work was completed. The Almoravide king
+subscribed the more readily to this condition, since his priestly
+counsellors absolved him from his oath, and had little difficulty in
+convincing him that his duty lay in the pacification of the unhappy
+Kingdom of Andalusia. Yusuf organised a force capable of contending with
+both the Christians of Castile and his Moorish allies. The capitulation
+of Granada provided him with the means of distributing vast treasure
+among his avaricious followers, and promises of even greater booty
+inspired them to further faithful service. Tarifa, Seville, and the rest
+of the important cities of Andalusia, fell before the treasure-hunting
+Berbers; and with the surrender of Valencia, on the death of the Cid,
+the re-conquest of Mohammedan Spain was practically completed. Order was
+temporarily restored, lives and property were once more respected, and a
+new era of peace and prosperity appeared to have begun. But the
+degenerating influence of wealth and luxurious ease, which in the course
+of generations had sapped the manhood of Spain’s successive conquerors,
+played swift havoc with the untutored Berbers. At the end of a score of
+years, the Castilians, led by Alfonso “the Battler,” had resumed the
+offensive, sacking and burning the smaller towns, and carrying their
+swords and torches to the gates of Seville and Cordova. The Almoravides
+were powerless to resist their vigorous forays. The people of Andalus,
+recognising the powerlessness of their protectors, declared their
+independence, and rallied to the ranks of the score of petty chiefs who
+raised their standards in every city and castle in Andalusia, and who
+fought with, or bribed their Christian adversaries for the maintenance
+of their vaunted power.
+
+At this crisis in the history of Spain, when the dominion of the
+enfeebled and dissolute Arab and Berber leaders was weakening before the
+resolute onslaughts of the rude, hard-living, and hard-fighting
+Christians of the North, a new force was created to turn the scale of
+Empire and prolong the rule of the Moslem in Europe. Before the
+Almoravides had been overthrown in Andalus, the Almoravides in Africa
+had been vanquished and dispersed by the mighty Almohades, who now
+regarded the annexation of Mohammedan Spain as the natural and necessary
+climax to the work of conquest. Andalusia had been a dependence of the
+Almoravide Empire; it was now to be a dependence of the Almoravides’s
+successors. Between 1145 and 1150 the transfer was completed; but
+although the Almohades had wrested the kingdom from the Almoravides,
+they had not subdued the Christian provinces. The new rulers,
+under-estimating the potentiality of this danger, left the country to be
+governed by viceroys--an error in statecraft, which ultimately lost
+Spain to the Mohammedan cause. In 1195 they sent from Morocco a huge
+force to check the Christian aggressive movement, and the Northern host
+was routed at Alarcos, near Badajoz. That success was the last notable
+victory that was to arrest the slow, but certain, recovery of all Spain
+to Catholic rule. In 1212, the Almohade army suffered a disastrous
+defeat at the battle of Las Navas; in 1235 they were driven out of the
+Peninsula; three years later, on the death of Ibn-Hud, the Moslem
+dominion in Spain was restricted to the Kingdom of Granada; and,
+although this Moorish stronghold was destined to endure for another two
+and a-half centuries, it existed only as a tributary to the throne of
+the Christian kings of Spain.
+
+For the purposes of this book, the history of Moorish Spain closes with
+the expulsion of the Mohammedans from Cordova, Toledo, and Seville. That
+more modern, and, in some ways more wonderful, Moorish monument--the Red
+Palace of Granada--I have dealt with in my book on “The Alhambra,” to
+which this work is intended to be the companion and complement.
+
+
+
+
+CORDOVA
+
+
+Of the four great cities of the Mohammedan domination in Spain, Cordova,
+as the seat of the Khalifate established by Abd-er-Rahman I., is rightly
+regarded as chief. The sun of the Moslem era shone with dazzling
+brilliance on Seville, and pierced the shadows of grim Toledo ere it set
+upon the decaying grandeur of Granada; but it had risen first on
+Cordova, and from “that abode of magnificence, superiority, and
+elegance” its glory had been reflected to the furthest corner of the
+civilised world. For Cordova, by reason of its climate, its situation,
+and its surroundings has, since the beginning of time, been one of the
+garden spots of Europe. The Carthaginians had aptly styled it “the Gem
+of the South,” and the Romans had founded a city there in 152 B.C.,
+which they called Corduba. But Corduba had sided with Pompey against
+Cæsar in the struggle for the mastership of the Roman Empire, and the
+mighty Julius visited this act of hostility with the destruction of more
+than half the city, and the massacre of 28,000 of its inhabitants. When
+the Goths made themselves rulers of Spain in the sixth century, they
+selected Toledo to be their capital, and Cordova sank into political
+insignificance. In 711, when Tarik had defeated Roderick near the banks
+of the Guadalete, he despatched Mughith with 700 horse to seize Cordova.
+Taking advantage of a fortuitous storm of hail, which deadened the
+clatter of the horses’ hoofs, and assisted by the treachery of a
+Christian shepherd, the followers of the Prophet obtained an unopposed
+entry, and the city fell without a blow being struck. Forty-four years
+later Abd-er-Rahman I. established the dynasty of the Omeyyads of
+Cordova, and for three centuries the capital of Mohammedan Spain was to
+be, in the language of the old chronicler, Ash-Shakand, “the repository
+of science, the minaret of piety and devotion, unrivalled even by the
+splendours of Baghdad or Damascus.”
+
+Science has long since deserted Cordova; piety is not obtrusive there;
+its material magnificence has passed away. To-day the once famous city
+is a sleepy, smiling, overgrown village; a congregation of empty
+squares, and silent, winding, uneven streets, which have a more
+thoroughly African appearance than those of any other town in Spain.
+Theophile Gautier has described its “interminable white-washed walls,
+their scanty windows guarded by heavy iron bars,” and its pebbly,
+straw-littered pavement, and the sensitive spirit of De Amicis was
+caught by a vague melancholy in the midst of its white-washed,
+rose-scented streets. Here, he writes, there is “a marvellous variety of
+design, tints, light, and perfume; here the odour of roses, there of
+oranges, further on of pinks; and with this perfume a whiff of fresh
+air, and with the air a subdued sound of women’s voices, the rustling of
+leaves, and the singing of birds. It is a sweet and varied harmony that,
+without disturbing the silence of the streets, soothes the ear like the
+echo of distant music.” It has, as I have observed elsewhere, a charm
+that fills the heart with a sad pleasure; there is a mysterious spell in
+its air that one cannot resist. One may idle for hours in the sunshine
+that floods the deserted squares, and try to reconstitute in one’s mind,
+that Cordova, which was described as “the military camp of Andalus, the
+common rendezvous of
+
+[Illustration: PLATE I.
+
+CORDOVA.
+
+Shell-like Ornaments in the Cupola of the Mihrab.]
+
+[Illustration: PLATE II.
+
+CORDOVA.
+
+Shell-like Ornaments in the Cupola of the Mihrab.]
+
+[Illustration: PLATE III.
+
+CORDOVA.
+
+Shell-like Ornaments in the Cupola of the Mihrab.]
+
+[Illustration: PLATE IV.
+
+CORDOVA.
+
+Part of the ornamentation and keystone of one of the lower arches which
+gives light to the dome.]
+
+[Illustration: Ring of the Cupola.]
+
+those splendid armies which, with the help of Allah, defeated at every
+encounter the worshippers of the Crucified.” This indolent, lotus-fed,
+listless Cordova was once, says El-Makkari, “the meeting place of the
+learned from all countries, and, owing to the power and splendour of the
+dynasty that ruled over it, it contained more excellencies than any
+other city on the face of the earth.” Another Mohammedan author,
+Al-hijari, Abu Mohammed, writing of the city in the twelfth century,
+said: “Cordova was, during the reign of the Beni-Merwan, the cupola of
+Islam, the convocation of scholars, the court of the sultans of the
+family of Omeyyah, and the residence of the most illustrious tribes of
+Yemen and Ma’d. Students from all parts of the world flocked thither at
+all times to learn the sciences of which Cordova was the most noble
+repository, and to derive knowledge from the mouths of the doctors and
+ulema who swarmed in it. Cordova is to Andalus what the head is to the
+body. Its river is one of the finest in the world, now gliding slowly
+through level lawns, or winding softly across emerald fields, sprinkled
+with flowers, and serving it for robes; now flowing through
+thickly-planted groves, where the song of birds resounds perpetually in
+the air, and now widening into a majestic stream to impart its waters to
+the numerous wheels constructed on its banks, communicating fresh vigour
+to the land.”
+
+The extent of ancient Cordova has been differently stated, owing, no
+doubt, to the rapid increase of its population and the expansion of the
+buildings under the sultans of the dynasty of Merwan on the one hand,
+and, on the other, to the calamities and disasters by which it was
+afflicted under the last sovereigns of that house. Cordova is, moreover,
+described by Mohammedan writers as a city which never ceased augmenting
+in size, and increasing in importance, from the time of its subjugation
+by the Moors until A.D. 1009-10, when, civil war breaking out within it,
+the capital fell from its ancient splendour, gradually decaying, and
+losing its former magnificence, until its final destruction in A.D.
+1236, when it passed into the hands of the Christians.
+
+From 711 until 755, when Abd-er-Rahman arrived in Spain to seize the new
+Moorish possession, which had fallen to the military skill and courage
+of Tarik’s Berbers, the conquerors had been too fully employed in
+capturing cities to devote much leisure to beautifying their prizes;
+now, with the foundation of the Omeyyad power, Cordova was to reap the
+first fruits of comparative peace. But the repulsion of the Abbaside
+invasion, the subjugation of Toledo, and the suppression of the Berber
+revolt in the Northern provinces, long delayed the commencement of the
+great mosque which the sultan projected as “a splendid seal upon the
+works pleasing to the Almighty, which he had accomplished.” By the
+building of the mosque, Abd-er-Rahman would secure a place for himself
+in Paradise, and would leave to his own honoured memory a Mecca of the
+West to which the followers of the Prophet could go in pilgrimage.
+
+The treasury of Abd-er-Rahman was at this time in a flourishing
+condition, despite the large sums spent in adding splendour to the
+growing khalifate, and there appeared to be no difficulty in carrying
+out his project. But Umeya Ibn Yezid, the favourite secretary of the
+sultan, who, in his capacity of Katib, was instructed to make overtures
+for the purchase of the church on whose site the khalif intended to
+build the new mosque, soon found that the negotiations were beset by
+serious difficulties. The Christians held firm to the conditions of
+capitulation granted them by the Saracen conquerors of Cordova, and were
+not at all inclined to sell to Abd-er-Rahman the temple upon which he
+had set his heart. This building is described by Pedro de Madrazo as a
+spacious basilica, which they shared with the followers of the Prophet,
+since the Mohammedans, according to the practice established amongst
+them by the advice of the Khalif Omar, shared the churches of the
+conquered cities with the Christians, and, after taking Cordova, had
+divided one of the principal basilicas in two parts, one of which they
+conceded to the Cordovans, reserving the other, which they at once
+turned into a mosque, for themselves. The Christians had religiously
+paid the tribute exacted from them that they might keep their churches,
+bishops, and priests, but this had not protected them from unjust
+exactions and plunderings at the hands of the governors and
+representatives of the Eastern khalifs. Knowing this, Abd-er-Rahman was
+anxious to acquire the desired site without violence, and, with his
+natural sagacity, he perceived that the religious zeal of the native
+Christians was much less fervent than that of his own people. Captivity
+and affliction had damped the old ardour of the natives of Cordova,
+which, in his day, was no longer the heroic colony, so anxious for
+martyrdom, and so prodigal of its blood, as it was at the time when the
+flock of Christ was guided by the great Osius under the persecutions of
+Diocletian and Maximilian. Neither was it the Cordova which had endured
+wars, hunger, and plague sooner than be contaminated with Arianism, and
+the khalif knew, too, that in spite of the education given to the
+Christian youth in the schools and colleges of the monasteries, where
+many young priests and secular scholars promised to be a future danger
+to the Mohammedans, the Church at Cordova was suffering grievous wounds
+from the new doctrines of Migencio and Elipando. He was, therefore, the
+more surprised to receive a stubborn refusal to his offer, but the
+estimation in which he held the vanquished people and their leaders,
+led him to believe that he could overcome their obstinacy by quiet
+persistence, and by trusting to time to undermine their scruples. His
+policy was justified by its eventual success.
+
+How did Abd-er-Rahman succeed in persuading the Christians to make so
+great a sacrifice? How came they to be induced to abandon their
+principal church to the infidels? Had not these walls been witnesses of
+the vows they had sworn at the most solemn epochs of their lives?
+Perhaps it was already a matter of indifference to them to see the
+ground, sanctified by the blood of their martyrs, defiled! “God Almighty
+alone knows” must be our only comment upon this unaccountable
+transaction, and we leave it thus in accordance with the practice
+adopted by the Arab historians, when they were at a loss for an
+explanation.
+
+It is certain that under the reign of Abd-er-Rahman the Christians were
+no longer persecuted on account of their religion. They paid tribute, it
+is true, as a conquered people, but their faith was respected; they had
+their churches and monasteries, where they worshipped publicly; and it
+is not recorded that any of their priests were molested by the first
+Moorish king of the West. On the other hand, when they compared their
+present lot with that of the past, they must have considered themselves
+greatly fortunate, as they escaped the tyranny under which their fathers
+had suffered during the years from the cruel Alahor to the time of the
+covetous Toaba. It is certain that a new empire was rising in Cordova,
+which was very threatening to the law of Christ; but at first its menace
+was not revealed, and for this reason it was more to be feared. Its
+intentions were not published, but they were vaguely felt. Those who
+were wisest and most far-seeing could perceive, though still far off,
+the dark cloud of a bloody persecution drawing around the Church of
+Andalusia; but for the generality of the Christians there seemed to be
+no reason why the present toleration was not to continue, and it is
+certain that fear was not the motive that made them yield to the wishes
+of the khalif.
+
+History is very reticent concerning this event; in fact, as Pedro de
+Madrazo admits, nothing definite has, up to the present, been discovered
+with regard to it. The probabilities are that the Bishop of Cordova,
+upon receiving the message of the Moorish king, called a council, and,
+after due discussion, resolved to part amicably with that which, despite
+the king’s moderation, would without any doubt be taken from them by
+force, should they persist in their refusal. In parting with their
+church, and transferring their place of worship, they hoped, too, to be
+released from the odious proximity of the infidels, whose presence under
+the roof of their basilica must always have been looked upon as a
+desecration of the sacred building. And, finally, the advantages to be
+gained by removing their holy relics to a more suitable sanctuary may
+have decided them to accept the khalif’s offer, under the condition that
+they should be allowed to re-build the basilica of the martyrs St.
+Faustus, St. Januaris, and St. Marcellus, which had been destroyed in
+recent years; and this being conceded to them by the khalif, the bishop
+authorised the transfer. The Arab ordered that the price agreed upon
+should be sent at once to the Christians, who were in turn to surrender
+their church forthwith, because Abd-er-Rahman, already advanced in
+years, was anxious that the edifice he was going to raise should be
+commenced without delay. No sooner had the Christians departed than
+Abd-er-Rahman left his villa in Razafa and took up his residence at the
+alcazar of the city, in order to superintend the projected work. The
+destruction of the old building was immediately proceeded with. Devoured
+with the desire to see the work completed, the indefatigable old man
+spent many hours each day on the scene, carefully examining the portions
+of the demolished buildings, which were to be utilised for the new
+mosque, and classifying them with rare skill. The whole city was filled
+with movement and commotion. There was not a trade amongst the people
+which did not receive fresh impetus from the new building. Whilst all
+were busy in the factories and workshop, in the woods, on the mountains,
+and on the roads from the hills to the city; whilst the furnaces and
+brick ovens were glowing; whilst the Syrian architect meditated on his
+plans and on those traced by the king’s own hands, and the Katib wrote
+to Asia and Africa inviting the co-operation of famous artists; the
+people, lazy and curious, swarmed around the spacious foundations, and
+the whole city presented a scene of animation and excitement not easy to
+describe.
+
+Abd-er-Rahman, who had a presentiment that he would not live to see the
+mosque finished, pushed on the work with all speed, that he might at
+least have the satisfaction of covering the arcades which formed its
+naves, and of inaugurating the cult of Islam with one of those eloquent
+harangues, which he was in the habit of addressing to his people on the
+days of “Juma,” or Rest. Barely two years after the foundations were
+laid the square fortress of Islam rose above the groves by the river,
+surpassing in height the severe Alcazar of Rodrigo. A few more moons,
+and the interior walls, the superb colonnades of bold and unusual
+form,--the mosque of Cordova is probably the first edifice in which
+superposed arches were introduced--the graceful rows of double arches,
+the ample porticos, the handsome façade of eleven entrances, the rich
+side doors, flanked by fretted windows, and finally the incomparable
+roof of incorruptible wood, carved and painted, would be finished.
+Still a few more moons, and the “hotba,” or harangue, for the health of
+Abd-er-Rahman was to be read to the people from the most beautiful
+“nimbar,” or pulpit in the West, and repeated by two thousand believers
+as with one voice, drowning in the vibrating surge of an immense and
+thundering contempt the shamed hymns of the vanquished Nazarenes.
+
+Not only was the mosque to be ready for the celebration of the public
+ceremonies on the first day of “Alchuma,” but already the sanctuary
+loomed at the extremity of the principal nave towards the South, covered
+with rich and dazzling Byzantine ornamentation, the venerated copy of
+the holy house of Mecca. The great aljama was not yet complete, it is
+true, but the diligent architects would find a way to satisfy the
+impatience of the sultan by covering the walls with rich hangings from
+Persia and Syria. A profusion of Corinthian columns in the principal
+naves, and of bold marble pillars from the Roman monuments, sent from
+the provinces as presents to the monarch from his walies, would be in
+their place. The columns taken from the old basilica of the Visigoths,
+would be found in the secondary naves, with others, as yet unchiselled.
+The floor was to be covered with flowers and fragrant herbs, and the
+sacred precincts would be inundated with light and perfume, diffused by
+hundreds of candelabra and thuribles. The fortunate Abd-er-Rahman would
+be able at least once before he died to direct the rites of the
+religion, for the propagation of which he had made so many sacrifices,
+in his capacity of “Imam” of the law.
+
+But it was not to be. That day the news spread through the city that the
+angel of death was seated by the bedside of the khalif; and soon after,
+the body of Abd-er-Rahman, the wise, the virtuous, and the victorious,
+lay in one of the chambers of his alcazar, wrapped in the white
+garments, distinctive of his great lineage. The sad event was announced
+to the people by Abd-er-Rahman Ibn Tarif, the superior of the Aljama of
+Cordova, from the very pulpit from which the dead monarch was to have
+addressed his subjects, and the crowds departed from the mosque
+exclaiming: “May the Amir rest in the sleep of peace, Allah will smile
+upon him on the day of reckoning.”
+
+The great glory of completing the mosque was reserved for Hisham, the
+favourite son of Abd-er-Rahman, to whom all the walies had sworn fealty
+as the rightful successor. This prince was at Merida when his father
+died, but he at once left that city for Cordova, where he made the
+mosque the object of his special solicitude.
+
+Soon after his accession, Hisham consulted a famous astrologer as to his
+future. The learned man, who was called Abh-dhobi, at first refused to
+gratify the sultan’s curiosity, but upon being pressed he said: “Thy
+reign, O Amir, will be glorious and happy, and marked by great
+victories; but, unless my calculations are wrong, it will only last some
+eight years.” Hisham remained some time in silence upon hearing these
+words, but presently his face cleared, and he spoke thus to the
+astrologer: “Thy prediction, O Abh-dhobi, does not discourage me, for if
+the days given me still to live by the Almighty are passed in adoring
+Him, I shall say when my hour comes, ‘Thy will be done.’”
+
+This monarch’s brief reign was rich in notable deeds. He repressed the
+rebellion of his two brothers Suleyman and Abdullah, carried the holy
+war as far as Sardinia, entered and sacked the town of Narbonne, and
+compelled the unhappy Christians to carry the clay of the demolished
+walls of their city upon their shoulders as far as Cordova, in order to
+build a mosque in his alcazar. Hisham made himself feared by the Franks,
+and he did much to establish the empire of Islam in Andalus, enlarging
+its capital, repairing
+
+[Illustration: CORDOVA
+
+THE MOSQUE.
+
+PORTAL ON THE NORTH SIDE, MOORISH STYLE, BUILT UNDER HAKAM III.,
+988-1001.]
+
+[Illustration: CORDOVA
+
+EXTERIOR VIEW OF THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+EXTERIOR ANGLE OF THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+THE EXTERIOR OF THE MOSQUE.]
+
+[Illustration: PLATE V
+
+CORDOVA.
+
+Curvelinear triangles resulting from the intersection of the arches
+sustaining the dome.
+
+Setting of the arches sustaining the dome.
+
+Setting of the arches sustaining the dome.]
+
+[Illustration: PLATE VI.
+
+CORDOVA.
+
+Ornament running below the Cupola.
+
+
+Ornament running below the Cupola.
+
+Setting of one of the lower arches which gives light to the dome.]
+
+[Illustration: PLATE VII.
+
+CORDOVA.
+
+Curvelinear triangles resulting from the intersection of the arches
+sustaining the dome.
+
+Architrave of one of the Arches sustaining the Dome.]
+
+[Illustration: PLATE VIII.
+
+CORDOVA.
+
+Details de las Portados de la Maksurah.
+
+Keystone of the arch of the Mihrab.
+
+Keystone of the arch of the right hand side gateway.]
+
+[Illustration: PLATE IX.
+
+CORDOVA.
+
+Arches of the Portal of the Mihrab.]
+
+[Illustration: PLATE X.
+
+CORDOVA.
+
+Detail of the Framing of the Side Gate.
+
+Detail of the Window placed over the Side Door.
+
+Detail of the Framing of the Arch of the Mihrab.]
+
+[Illustration: PLATE XI.
+
+Windows in an Alcove.]
+
+[Illustration: PLATE XII.
+
+               ft. in.
+Height of Vase  4   6
+
+               ft. in.
+Diameter        2  11
+
+Arab Vase of Metallic Lustre.]
+
+[Illustration: PLATE XIII.
+
+Details of the Arches.]
+
+[Illustration: PLATE XIV.
+
+Centre Painting on a Ceiling.]
+
+[Illustration: PLATE XV.
+
+Divan.]
+
+[Illustration: PLATE XVI.
+
+Detail of an Arch.]
+
+its magnificent bridge, creating useful public institutions, and finally
+completing the grand mosque, which his father had commenced, founding
+and endowing in connection with it schools and colleges. Moreover, he
+did all this with the resources of the treasury, and with his lawful
+part of the spoils of conquest, without levying any extraordinary taxes.
+
+Tradition relates that there formerly was a bridge over the
+Guadelquivir, erected on the site of the present structure, about 200
+years before the arrival of the Moors in Spain: but, this edifice being
+greatly decayed, it was rebuilt by the Arabs during the Viceroyship of
+Assamh, A.D. 720 or 721. This noble structure is four hundred paces, or
+one thousand feet, in length, and its breadth is twenty-two feet eight
+inches within the parapets. The passage over the bridge is a straight
+line from one end to the other; the arches are sixteen in number, and
+the buttresses of the piers are much stronger and better adapted for
+similar purposes than the modern tri-lateral cut-waters. Nearly eleven
+centuries have these buttresses withstood the rapid floods of the
+Guadelquivir, without sustaining any material injury. Although Hisham
+practically rebuilt the bridge, the labour did not contribute to his
+personal convenience. His great love of hunting caused the malcontents
+among his subjects to whisper that he had repaired the bridge to
+facilitate the outgoings and incomings of his hunting parties. The
+rumour reached the king, who vowed that he would never cross the bridge
+again--a vow he faithfully observed.
+
+The great Aljama was completed in the year A.D. 793. The Emir Hisham
+took as great a personal interest in its progress as did his father, the
+walies of the provinces contributed to its decoration with the spoils
+from ancient monuments, the artificers with their genius, victors with
+their booty, the city with its workmen, the mountains of Cordova and
+Cabra by yielding the treasures of their quarries, Africa with the
+trunks of its imperishable larch-pines, and Asia by inoculating the
+growing Arabic-Spanish art with its genius of ornament, its aspirations
+and its poetry.
+
+The superb mosque was finished, the workmen rested from their labours,
+and Hisham was confident that he had secured a place in the garden of
+everlasting joys. Let us look at this new house of prayer, majestically
+situated at the southern boundary of the great city, close to the green
+banks of the wide river of Andalus, occupying an area of 460 feet from
+north to south, and 280 from east to west, surrounded by high, thick
+battlemented walls, flanked by stout buttresses of watch towers, and
+surmounted by a lofty minaret. It is entered by the faithful by nine
+rich and spacious outer gates, and by eleven interior doors, four in the
+east and west sides, and a principal one to the north; the eleven in the
+inner façade communicating with an equal number of naves in the temple.
+The interior arrangement of this wonderful monument is most beautiful.
+There is a great courtyard, or atrium, with wide gates in the north,
+west, and east sides, having fountains for the ablutions and the
+purifications, and orange and palm groves. Then comes the immense body
+of the house of prayer, divided into eleven principal naves, running
+from north to south, and crossed at right angles by twenty-one smaller
+naves, which run from east to west. The elegant combination of the
+arcades, in which the pilasters are superposed on the columns, and the
+arches on other arches, leaving a passage for the light between the
+upper and lower columniation, is quite ideal. Finally, the mysterious
+hidden sanctuary, within which the Koran is kept, in whose precincts
+Oriental art has exhausted all the riches of its fascinating resources.
+
+The eleven great doors leading from the courtyard to the
+
+[Illustration: CORDOVA
+
+THE BRIDGE.]
+
+[Illustration: CORDOVA
+
+VIEW OF THE MOSQUE AND THE BRIDGE.]
+
+[Illustration: CORDOVA
+
+SECTION OF THE MOSQUE OF CORDOVA ON THE LINE OF THE PLAN L. M.
+
+SECTION OF THE MOSQUE OF CORDOVA ON THE LINE OF THE PLAN N. O.]
+
+[Illustration: CORDOVA
+
+THE GATES OF PARDON.]
+
+mosque are superb double arches all in a row, sustained by beautiful
+marble columns, which, four by four, encircle the stout supporting
+pillars of stone in which they are consolidated. From the courtyard the
+interior of the mosque is seen through these eleven doors glittering
+with golden fires, and from the temple the courtyard, seen through these
+same doors, appears to be a glimpse of the longed-for Garden of
+Delights. The Mohammedan poet, Mohammed Ibn Mohammed Al-baluni, sings as
+follows of the holy House of Prayer, which surpasses in richness of
+colour, beauty of design, and boldness of ornamentation the most famous
+mosques of Arabia, Syria, and Africa:
+
+     “Abd-er-Rahman, for the love of God, and in honour of his religion,
+     spent eighty thousand dinars of silver and gold.”
+
+     “He laid them out in constructing a temple for the use of his pious
+     nation, and for the better observance of the religion of Mahomet.”
+
+     “Here the gold lavished on the panelled ceilings shines with the
+     same brilliancy as the lightning, which pierces the clouds.”
+
+The design, as completed by the Sultan Hisham I. in the years 794-95,
+received considerable improvements at the hands of his successors.
+Indeed, it can be safely said that none of the sultans of the
+illustrious family of Omeyyad who reigned in Cordova failed to make some
+estimable addition, or contributed in some way to the decoration of the
+sumptuous building. Hakam’s son, Abd-er-Rahman II., A.D. 822-852,
+ordered much “Gilt-work”--_Zak-hrafah_--to be made, but died before the
+work was completed. Mohammed, his son and successor--A.D.
+852-886--continued the work undertaken by his father, and brought it to
+a close. Mohammed’s son, Abdallah--A.D. 886-888--is also recorded as
+having made improvements in the building.
+
+In the time of the Great Khalif, Abd-er-Rahman III., called An-nasir in
+order to distinguish him from the other monarchs of that name, the old
+minaret was pulled down by the advice of a wise architect, and a new one
+built on its site, whose vastness surpassed all other minarets in the
+world. Forty-three days were spent in sinking its foundations, which
+penetrated into the ground till water was struck, and three months
+sufficed for its construction. The superb tower is built of freestone
+and mortar in such a curious manner that, though it contains two
+staircases in its interior, each flight containing 107 steps, people can
+ascend to the top and go down again without seeing one another. This
+elaborate tower measures fifty-four cubits from its foundations to the
+upper part of the open dome, to which the priest, who calls to prayers,
+turns his back, as he perambulates the projecting balcony, whose elegant
+balustrade surrounds the four walls like a graceful ring. From this
+balcony up to the top the tower rises eighty-three cubits more, being
+crowned with three beautiful apples, two of gold and one of silver, each
+three palms and a half in diameter, from which spring two lilies of six
+petals, supporting a pomegranate of purest gold. It has fourteen windows
+in its four faces. In two of these faces there are three intervals, and
+in the other two, two intervals, formed between columns of white and red
+jasper, and over the windows there is a crowning of solid arches
+sustained by small columns of the same jasper. These windows break up
+the mass of the walls in an admirable manner. The minaret is covered,
+both inside and out, with beautiful tracery in relief.
+
+Abd-er-Rahman also rebuilt the wall which enclosed the mezquita to the
+north, looking towards the Orange Court, and he had the entire floor of
+the mosque levelled.
+
+[Illustration: CORDOVA
+
+A VIEW IN THE GARDEN BELONGING TO THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--LATERAL GATE.]
+
+[Illustration: CORDOVA
+
+INTERIOR OF THE MOSQUE, OR CATHEDRAL.]
+
+[Illustration: CORDOVA
+
+INTERIOR OF THE MOSQUE, MOORISH STYLE, BUILT 961-967, UNDER HAKAM II.]
+
+In 961 A.D., Abd-er-Rahman III., the last great Omeyyad Sultan of
+Cordova died, and among his papers was discovered a diary, in his own
+handwriting, in which he had carefully noted down the days which he had
+spent in happiness and without any cause of sorrow. They numbered
+exactly fourteen. “O, man of understanding!” says the Arabian
+philosopher, “wonder and observe the small portion of real happiness the
+world affords even in the most enviable position! The Khalif An-nasir,
+whose prosperity in mundane affairs, and whose widely-spread empire
+became proverbial, had only fourteen days of undisturbed enjoyment
+during a reign of fifty years, seven months, and three days. Praise be
+given to Him, the Lord of eternal glory and everlasting empire.”
+
+The Sultan Hakam, as soon as he succeeded to the Khalifate, determined
+to enlarge the mosque, which was too small to accommodate the numbers of
+those who went there to perform the “azalas.” He called together the
+architects and geometricians, who decided that the addition should
+extend from the “kiblah”--the point looking towards Mecca--of the mosque
+to the extreme end of the atrium, thus running the entire length of the
+eleven naves. The addition measured ninety-five cubits from north to
+south, and as much from east to west as the width of the whole mosque.
+The passage to the alcazar, used by the khalif when he came to the
+“azalas,” was intersected near the “nimbar,” or pulpit, inside the
+“maksurrah.” In the year 354 of the Hegirah the cupola, which crowned
+the “mihrab,” or sanctuary, containing the Koran, in the addition to the
+mosque made by Hakam, was completed. In the same year the “sofeysafa,”
+or enamelled mosaic work, was commenced in the mosque, and, by the order
+of Hakam, the four incomparable columns, which formerly had served as
+jambs for the doors of the old “mihrab,” were set up again in the new
+one. It is related that while the addition was being made, a lively
+dispute arose as to the exact spot of the “kiblah,” and it was finally
+decided to erect the sanctuary at the limit of the prolongation of the
+eleven naves, in the centre, looking directly to the south. Between the
+interior southern wall and the exterior, which was strengthened with
+round towers, a space of some fifteen feet remained. This was divided
+into eleven compartments, corresponding with the eleven naves of the
+mosque, that in the centre being destined for the sanctuary, and the
+others being reserved for the priests and other purposes. In this manner
+the “mihrab” was placed in the exact centre of the south side, with a
+wing on each side, of precise resemblance. In the west wing there was a
+secret passage leading from the mosque to the alcazar, which extended
+very near the west wall of the mezquita. The doors of this passage were
+arranged in a most intricate fashion, doubtless for the greater security
+of the palace, and they gave entrance to the interior of the
+“maksurrah,” a sumptuous reserved space, communicating on the north,
+east, and west with the great naves, and on the south forming part of
+the interior wall of the mosque. This “maksurrah” was a privileged spot,
+enclosed by a sort of wooden grating, elegantly worked on both faces,
+and surmounted by turrets, the object of which was to cut off all
+communication with the sultan. This screen, measuring twenty-two cubits
+to its summit, gives its name to that part of the edifice which it
+occupies. Its ornamentation, as well as that of the new part of the
+central nave, extending from the old to the new “mihrab,” is magnificent
+in the highest degree. The plan of the “maksurrah,” properly speaking,
+was a large rectangle, divided into three parts, almost square, from
+which rose three Byzantine domes of rare beauty.
+
+[Illustration: CORDOVA
+
+THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--INTERIOR VIEW.]
+
+[Illustration: CORDOVA
+
+INTERIOR VIEW OF THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--GENERAL VIEW OF THE INTERIOR.]
+
+That in the centre served as a vestibule to the sanctuary, and was the
+most remarkable for its proportions, its outlines, and its decorations.
+This part of the mosque has been preserved in its principal features to
+the present day. The edifice has lasted nine centuries, and there is no
+indication that it will not endure for nine centuries more.
+
+Over the festooned arches, which intersect each other, rise seven light
+and graceful horse-shoe arches, which disappear into the south wall,
+thus closing the picture and terminating the lower body of the sumptuous
+vestibule. Above these double arches runs an impost, beautifully worked
+and very graceful, embracing and crowning the four façades, and dividing
+the cupola into two zones--an upper and a lower. On this impost rest
+beautiful columns in pairs, oversetting great bold semi-circular arches,
+arranged with such art that they seem to imitate the curves of the
+interlaced garlands of a choir of beautiful odalisques, as the arches do
+not go from each column to the corresponding one of the next couple, but
+leave the intervening pair open. In this way, as there are two pairs of
+columns supporting the impost in each façade, eight principal arches are
+formed in the space in two great quadrilaterals placed opposite each
+other, their springing stones crossing and forming eight points of a
+star. There is an octagonal ring in the centre with eight graceful
+pendants, as an embellishment to the capitals of the eight pairs of
+columns. A horseshoe arch from point to point, to which a tablet of
+alabaster is fitted, leaves an uncertain prospect of the vault of
+heaven, which shines upon the cupola and the profusion of rich mosaic
+work with which it is adorned.
+
+Between the elegant arches, which appear rather to hang from the cupola
+than to support it, the marvellous façade of the “mihrab” appears in the
+background, which glistens in the rays of the setting sun like a piece
+of brocade loaded with jewels, and which must have been dazzling as a
+fairy palace when, in the month of Ramadhan, the fourteen hundred and
+fifty-four lights of the great lamp shone under this enamelled
+“half-orange.” This façade, in spite of its marvellous richness, does
+not show the smallest confusion in its ornamentation, each line is
+traced with the idea of giving greater beauty to the arch which forms
+the entrance to the sanctuary. It is composed of the arch with its
+spacious architrave and its smooth jambs with small columns, together
+with its “arraba” surrounded by Grecian frets, and a light series of
+arches without vacuums, upon which rest the imposts which divide the
+upper and lower bodies of the dome. But such is the profusion and
+splendour of the ornamentation of each of these parts that it is
+impossible to describe them. The keystones, the architrave, the circle
+drawn in squares, the panels, the trefoil arches and the tympana are
+incomparable, and the combination of Grecian frets with Persian and
+Byzantine ornaments and geometrical figures is as beautiful as it is
+bewildering. These last, moreover, do not preponderate as was the case
+later in the degenerate Mussulman ornamentation proper. Here the Grecian
+frets are the most important, being combined in a thousand different
+ways, the stems and leaves tracing the most graceful curves, and all
+uniting to form an elegant border, of the most capricious tracery. The
+whole of this ornamentation is of marble, delicately carved, now smooth
+and white, now covered with minute mosaic of various colours, and loaded
+with crystal and gold. The inscriptions seen here are also in gold, on a
+ground of crimson, or ultra-marine, alternating with the shining
+“sofeysafa.”
+
+“Sofeysafa” is an obscure word, which Don Pascual de Gayangos believes
+to be a transposition of the Arabic
+
+[Illustration: CORDOVA
+
+THE CENTRAL NAVE OF THE MOSQUE--961-967.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--CHIEF ENTRANCE.]
+
+[Illustration: CORDOVA
+
+INTERIOR VIEW OF THE CATHEDRAL.]
+
+[Illustration: CORDOVA
+
+INTERIOR OF THE MOSQUE--LATERAL NAVE.]
+
+[Illustration: INTERIOR OF THE MOSQUE--EAST SIDE.]
+
+[Illustration: PLATE XVII.
+
+CORDOVA.]
+
+[Illustration: PLATE XVIII.
+
+CORDOVA.
+
+Detail of one of the niches of the Cupola.
+
+Mosaic keystones of the great arch of the Mihrab.
+
+Details of the Mihrab.]
+
+[Illustration: PLATE XIX.
+
+CORDOVA.
+
+Cufic inscription, over the arch of the Mihrab.]
+
+[Illustration: PLATE XX.
+
+CORDOVA.
+
+Pieces of Wood used in the ancient covering of the Mosque.
+
+Details of the Interior of the Mosque.]
+
+word Foseyfasa,[A] signifying enamel work of exceptional brilliancy,
+laid down by Greek workmen whom Abd-er-Rahman had brought to Cordova for
+the task.
+
+[A] _Foseyfasa._ Gayangos tells us that the word is not in the
+Dictionaries, but that, according to an old Arabian writer, it is a
+substance of glass and small pebbles, crushed and baked together,
+uniting, with great variety of colour, great brilliancy, and beauty;
+it is sometimes mixed with silver and gold. One of the conditions of
+peace granted to the Emperor of Constantinople by the Khalif, Al-waléd,
+was that the Emperor should provide a certain quantity of _foseyfasa_,
+or enamelled work, for the great mosque at Damascus. Idrisi, in his
+description of the mosque of Cordova, says that the enamel which
+covered the walls of the “mihrab,” came from Constantinople.
+
+Two columns are built into the jamb of the entrance arch to the
+sanctuary--one of black marble, the other of jasper, with lavishly
+carved capitals. If his blind enthusiasm did not deceive El-Makkari, the
+four columns were of green jasper and lapis-lazuli, two of each. An
+impost rests upon them as a cornice, and from this the arch springs; and
+on the impost an inscription in golden characters upon a crimson ground
+is written, which has the following meaning:
+
+“In the name of God, clement and merciful, let us give praise to Him,
+who directed us to this, for we could not have directed ourselves if we
+had not been directed by God, for which purpose the deputies of our Lord
+came with the truth. The priest Al-mostaner Billah Abdallah Al-Hakam,
+Prince of the Faithful--may God be faithful to him--ordered the
+president and prefect of his court, Giafar ben Abd-er-Rahman--may God be
+pleased with him--to add these two columns, since he laid the
+foundations in the holy fear of God, and with His good pleasure. This
+work was concluded in the month of Dhilhagia of the year 354 of the
+Hegirah.”
+
+From this inscription it would seem that two of the columns supporting
+the arch of “sofeysafa” were placed there by order of Hakam II., and
+that the others belonged to the old “mihrab,” which had been demolished
+in order to lengthen the mosque; but no one is capable of saying to-day
+whether the black marble columns, or the jasper, were those added by
+the order of the magnificent khalif; and whether the inestimable gift
+which was deemed worthy of being commemorated in letters of gold was of
+lapis-lazuli or not. “God alone knows!”
+
+The sanctuary is a small heptagonal space, with a pavement of white
+marble, a socle formed by seven great slabs of the same, and a dome,
+also of marble, shaped like a shell and made of a single piece, edged
+with an elegant moulding. The seven sides of the heptagon are decorated
+with exquisite trefoiled arches, supported by marble columns, with gilt
+capitals of delicate workmanship; the columns resting on a cornice,
+below whose modules runs a fascia, or fillet, of gilded characters
+carved in the marble of the slabs, which form the socle, or
+sub-basement.
+
+Within this sanctuary was kept the famous “nimbar” of Hakam II., which
+was a sort of pulpit, according to the Arab historian, unequalled in the
+world, either for its materials or its workmanship. It was of ivory and
+precious woods--ebony, red and yellow sandal, Indian aloe, &c.--and the
+cost of it was 35,705 dineros and three adirmames. It had ten steps, and
+was said to consist of 37,000 pieces of wood joined by gold and silver
+nails, and incrusted with precious stones. It took nine years to build,
+eight artificers working at it each day. This pulpit, which must have
+been of mosaic of wood, jewels and metals of price, was reserved for the
+khalif, and in it was deposited also the chief object of veneration of
+all the Mohammedans of Andalusia, a copy of the Koran, supposed to have
+been written by Othman, and still stained with his blood. This copy was
+kept in a box of golden tissue studded with pearls and rubies, and
+covered with a case of richest crimson silk, and was placed on a desk or
+lectern, of aloe wood with golden nails. Its weight was so
+extraordinary, that two men could scarcely
+
+[Illustration: CORDOVA
+
+THE MOSQUE--DETAIL OF THE GATE.]
+
+[Illustration: THE MOSQUE--FAÇADE OF THE ALMANZOR.]
+
+[Illustration: CORDOVA
+
+VIEW IN THE MOSQUE--961-967.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--A GATE ON ONE OF THE LATERAL SIDES.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--SIDE OF THE CAPTIVE’S COLUMN.]
+
+carry it. It was placed in the pulpit in order that the Imam might read
+in it during the “azala;” and when the ceremony was concluded, it was
+carried to another place, where it remained, carefully guarded, with the
+gold and silver vases destined for the great celebration of Ramadhan.
+
+The chronicler, Ambrosio de Morales, says that the “nimbar” was a sort
+of chariot on four wheels, and that it had but seven steps. It was to be
+seen in the cathedral of Cordova as late as the middle of the sixteenth
+century, when it was dismembered, and its materials employed in the
+construction of a Christian altar.
+
+The place, which from the slight indications of Edrisi appears to have
+served as treasure-room, was a sort of chapel, which is situated to-day
+not far from the site of the ancient “mihrab,” to the north of the
+present “maksurrah.” In this way it can easily be supposed that the
+noblest apartment of the mosque was completely closed to the people on
+the north and south sides; and, being occupied by the principal
+personages of the court, it would have been difficult for any
+irreverence to have been shown to the Imam or to the venerated
+“Mushaf”--Koran. The two “maksurrahs” remained, the one facing the
+other, both occupying exactly the same space; that is, at least, from
+east to west, supposing that they cut the three centre naves of the
+eleven which are in the mosque. Both these “maksurrahs,” or screens,
+have disappeared; and at the present time we cannot form the slightest
+idea as to their design. Almost the only thing which has remained intact
+of that time is the sumptuous space of the three chapels occupied by the
+“maksurrah” of Hakam; and of the spaces occupied by the old
+“maksurrahs,” only two disfigured chapels exist--that of the chief nave,
+and that of the next nave to the east. The latter is divided into two
+parts by a platform some feet above the floor of the mosque. In the
+upper portion the “Alicama” or preliminary for the prayer was made; and
+in the lower part, which still has the form of an underground chapel,
+the treasure was kept. The centre chapel, the present Chapel of
+Villaviciosa, was reserved for the khalif when he did not act as Imam;
+and in the west chapel, which exists no longer, was the seat of the Cadi
+of the Aljama. No trace of the original interior decoration of these
+chapels remains at the present day, and externally, only the arches
+facing the “mihrab,” and which are similar to those of the façade of the
+vestibule, are left.
+
+When everything had been completed internally to the satisfaction of
+Hakam, it occurred to him that the fountains in the Court of Ablutions
+did not harmonise with the grandeur of the mosque; he therefore
+commanded that they should be replaced by four splendid founts, or
+troughs, each cut out of a single piece of marble--two for the women in
+the eastern part, and two for the men in the west. It was his wish that
+these basins should be of magnificent proportions, and made from the
+same quarry. The work took much time, engaged many people, and
+necessitated the expenditure of a great deal of money; but it was
+happily executed, and the troughs were brought to their destination by a
+sloping way, specially constructed for the purpose, on great carts, each
+drawn by seventy stout oxen. The water, which was brought by the
+aqueducts of Abd-er-Rahman II., and was stored in a great reservoir
+covered with marble, flowed night and day; and after supplying the wants
+of the mosque, was carried off by three conduits to feed as many
+fountains for public use in the north, east, and west of the city.
+
+The great Vizier, Almanzor, considerably enlarged the mosque; many
+Christians, loaded with chains, being employed amongst the workmen. The
+eastern wall was thrown
+
+[Illustration: CORDOVA
+
+MOSQUE, NORTH SIDE--EXTERIOR OF THE CHAPEL OF ST. PEDRO.]
+
+[Illustration: CORDOVA
+
+GENERAL VIEW OF THE INTERIOR OF THE CHAPEL OF THE MASURA AND ST.
+FERDINAND.]
+
+[Illustration: CORDOVA
+
+DETAIL OF THE CHAPEL OF MASURA.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--ELEVATION OF THE GATE OF THE SANCTUARY OF THE KORAN.]
+
+down, and the foundations of a new wall were laid one hundred and eighty
+feet from the old one, throughout the entire length from north to south.
+In the covered part of the building eight great naves were added, all of
+equal size, and having the same number of arches as those already
+existing; so that the thirty-three minor naves, which cut the principal
+naves at right angles, were lengthened one hundred and eighty feet,
+running from east to west. The new part formed thirty-five transverse
+naves, where there had formerly been only thirty-three, because the
+wing, with the residences which fell to the east of the “mihrab” which
+was not lengthened, occupied the space of the two extra naves. The
+prolongation of the minor naves was not carried out with the slavish and
+monotonous uniformity of modern days. The Arab architects did not
+understand symmetry as we do to-day, and they satisfied themselves with
+producing unity by means of variety, without seeking a forced
+correspondence of similar parts. In the part added by Almanzor it was
+considered useless to give the same dimensions to the buttresses of the
+north wall as the primitive wall possessed, and consequently a space of
+six feet in length was gained from the principal naves at the north
+side. But as this extra width could not be given to the first of the
+lesser naves, as the height of the columns would not allow of it, the
+architect doubtless thought that instead of dividing up this small
+excess equally among the thirty-three arches in the length from north to
+south, it would be preferable and more effective to preserve the first
+three or four naves in line, adding a nave in the space gained by the
+diminution in the bulk of the buttresses, and by enlarging the
+succeeding naves wherever it seemed most convenient. As a result of
+this, the first transverse nave of the lengthened part, on account of
+the great narrowness of its intercolumniation, was not able to preserve
+the full span of its arches. It was necessary, therefore, to bring the
+latter nearer together and to break their curve, in order to keep the
+desired height, and thus probably for the first time, Pedro de Madrazo
+considers, was seen in the edifices of Arab Spain, the pointed arch
+which was destined to totally change the physiognomy of monumental art
+in the Middle Ages.
+
+The arch, broken in this manner at the culminating point of its curve,
+presently adopted in this small nave all the varieties of decoration to
+which it was susceptible. Here in effect, in this small space of barely
+seven feet wide and one hundred and eighty-five long, architecture
+exhausted at one time, and at the first attempt, all the shapes of
+arches, which were to be employed in the four following centuries; a
+circumstance which was quite fortuitous. It was not the intention to
+dissimulate the enlargement of which we are speaking; on the contrary,
+it was decided to signalise it in an unmistakable manner, for which
+purpose a row of stout pillars was raised, where the old east wall
+stood, and where at present is the dividing line between the eleventh
+and twelfth greater naves, the pillars of which were suitably united to
+each other by great arches, springing from beautiful columns in pairs,
+built into the pillars. The old classical art would never have confided
+such wide spaces to supports so delicate as are these columns, which in
+couples send the bold festooned arches, which serve as an opening to the
+edifice of Almanzor, across to the opposite pair. But the architects of
+the time of Abd-er-Rahman I. and of Hakam II. had already successfully
+attempted a similar feat in the grand arcade of the inner façade, which
+looks on the Court, and in the strengthening arcade which divides the
+primitive mosque from its prolongation to the south, so there was no
+reason to fear its repetition. To-day we pass, with a certain respect,
+
+[Illustration: CORDOVA
+
+THE MOSQUE--GATE OF THE SANCTUARY OF THE KORAN.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--MOSAIC DECORATION OF THE SANCTUARY, 965-1001.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--RIGHT-HAND SIDE GATE WITHIN THE PRECINCTS OF THE
+“MAKSURRAH.”]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--SECTION OF THE CUPOLA OF THE MIHRAB.]
+
+under these bold arches of eight metres elevation, and six, seven, and
+even eight metres in width, when we consider that they rest on columns
+of some three metres high, including their capitals; and only the
+stoutness of the pillars into which these graceful pairs are built
+assures us that they will not fall to the ground, wearied with such a
+supernatural effort.
+
+For the greater solidity of the wide edifice, added by Almanzor, a line
+of great pillars and arches, which marked the southern limit of the
+original mosque, was lengthened as far as the eastern wall, crossing at
+right angles the strengthening arcade already mentioned stretching from
+north to south; so that the actual Aljama was divided into four unequal
+parts, separated from each other, probably, by wooden screens and
+partitions. The part added by Hakam II., at whose extremities rose the
+old and the new “maksurrah,” was called “The Noble Apartment,” and was
+reserved for the nobility and the personages of the Court, the portion
+close to the “mihrab” being occupied by the ulema, alkatibes, almocries,
+and other ministers of the temple, and the Imam. The three remaining
+parts were for the people, and most likely the sexes were divided, for
+it is certain, from the assurances of an historian cited by Ahmed
+El-Makkari, that there were two doors inside the naves leading to the
+women’s part.
+
+The art of the decorations of Almanzor’s prolongation is not
+particularly attractive, the arches seem to be copied from those of the
+old door, and the only circumstance worthy of mention is that all the
+capitals of the columns are equal, and of the same form, in contrast
+with the great variety and richness of the capitals in the primitive
+mosque, and in the additions of Hakam II. The delicate and uniform
+construction of the mighty “hagib” may be mentioned as a purely
+archæological item, and also that the names of the artificers who made
+them are frequently to be seen in the foundations and shafts of the
+columns: _e.g._, Mondair, Mostauz, Motobarack, Fayr, Masud, Tasvir,
+Nassar, Kabir, Amin, Jalem-al-Amery, Hachchi, Tsamil, Bekr, Casim.
+
+With the part added by Almanzor, the mosque is said to have formed a
+great rectangular quadrilateral 742 feet long from north to south, and
+472 feet wide from east to west, enclosed by four great battlemented
+walls, fortified with square watch-towers, varying in height. The south
+wall, which reached a formidable height on account of the declivity of
+the ground, was adorned with nineteen towers, including those flanking
+it at both angles, which were more spacious and common to the two walls
+of east and west. The western wall had fourteen towers, and the north
+five, including the majestic minaret over the principal door; and,
+finally, the eastern wall was fortified by ten towers, all corresponding
+to the part which had to bear the pressure of the naves, and the wall of
+the Court at that side had no towers at all. The greater number of these
+towers remain, and the wide old walls also exist.
+
+There were twelve outer gates to the mosque, ten leading into the
+edifice, and twenty-one interior doors, without counting those of the
+dependencies to the temple and that of the khalif’s private passage,
+nineteen in the façade of the courtyard, and two which led to the
+women’s part of the building. All the outer doors were for the most part
+rectangular, formed by arched lintels set into ornamented horseshoe
+arches, their keystones were either white, or of alternate colours, the
+white being richly decorated with stucco ornaments in relief, and the
+coloured with beautiful mosaic of red and yellow brick, cut into tiny
+pieces. The horseshoe arch is set in a beautiful frame,
+
+[Illustration: PLATE XXI.
+
+CORDOVA.
+
+White marble pilaster of principal nave.
+
+Ornaments and arches in the Mihrab.
+
+keystones of chapel of the
+
+Capitals rough-hewn.
+
+Finished capital specimen of Arabian sculpture.]
+
+[Illustration: PLATE XXII.
+
+CORDOVA
+
+Details of Moorish Work.]
+
+[Illustration: PLATE XXIII.
+
+Details, Villaviciosa Chapel and Mihrab.]
+
+[Illustration: PLATE XXIV.
+
+Details of Moorish Work.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--DOME OF THE SANCTUARY.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE.
+
+ROOF OF THE CHAPEL OF THE MASURA AND ST. FERDINAND.]
+
+[Illustration: CORDOVA
+
+VILLAVICIOSA CHAPEL.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--DETAIL OF THE HALL OF CHOCOLATE.]
+
+richly ornamented as are the tympana between the arch and the lintel,
+the facias and the little windows of perforated alabaster, which, now
+enclosed in arches resting on little marble pillars and grouped in
+graceful pairs, flank the door. Some of these have projecting cornices
+forming a parapet with small dentalated towers, which give the sacred
+building the appearance of a fortress, and recall the warlike origin of
+the Mohammedan religion. All the outer gates have inscriptions, with
+invocations and verses taken from the Koran.
+
+Hakam II. had an apartment constructed in the western part of the
+temple, which was to serve for the distribution of alms, and here any
+poor wanderer, who happened to be in the city without protection or
+means of subsistence, could obtain the wherewithal to continue his
+journey. For this purpose the khalif endowed the establishment in a
+splendid manner. It was not exactly a hostel, as its space was too
+limited; and, besides, Hakam had already established other places of
+lodging for poor travellers outside the mosque, one of these being quite
+near this “Dar-as-asdaca,” or “Alms Chamber.” Poor students, too, were
+looked after, and received a daily meal, and even small sums of money.
+The wise men received annual pensions from the treasury, according to
+their merit and personal circumstances.
+
+The Alms Chamber was, properly speaking, only intended for the
+distribution of alms to the poor. Its beautiful door, to-day blocked up,
+can still be seen, both inside and out, in the wall of the mosque, and,
+according to El-Makkari, it was the most beautiful of the western side.
+It is no longer possible to form an exact idea of the aspect of the
+chamber as it was when Hakam II. completed its decoration. He covered it
+with gilded and painted stucco work, which turned its walls into
+beautiful filigree, and to-day this apartment is half forgotten, after
+having served as a vestibule to the first Christian cathedral of
+Cordova. No one would think that this place, beyond St. Michael’s
+postern, and separated from the body of the building by a wretched
+partition and a door of pine-wood, is the ancient “Dar-as-asdaca.” For
+many years it was used as a Chapter Hall, and the archives of the
+extinct music-school, with its choir books, were kept here.
+
+The actual dimensions of the mosque varied at different periods, and are
+difficult to establish. One authority says, that in length from north to
+south the mosque measured six hundred and forty-two feet, in width four
+hundred and sixty-two feet. Mr. Waring, in his _Notes of an Architect in
+Spain_, describes the mosque as an oblong of three hundred and
+ninety-four feet by three hundred and sixty feet. The famous Orange
+Court is in length two hundred and twenty feet, and, being within the
+boundary walls of the mosque, it is probably included in the former
+measurement.
+
+It is also impossible to fix, with any degree of certainty, the number
+of columns contained in the mosque during the time of Mohammedan
+supremacy. Ambrosio de Morales, and the Infante Don Juan Manuel, both of
+whom described the mosque before the columns were reduced in number by
+the alterations to which the building has been subjected, estimate the
+figures at one thousand and twelve, but it is only too certain that when
+the mosque was converted into a Christian church very many were removed
+to make room for altars and chapels.
+
+No less than one hundred columns were comprised within the “maksurrah,”
+which was further provided with three doors of exquisite workmanship,
+one of which was
+
+[Illustration: CORDOVA
+
+ENTRANCE TO THE VESTIBULE OF THE MIHRAB.]
+
+[Illustration: CORDOVA
+
+MIHRAB OR SANCTUARY OF THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--ARCH AND FRONT OF THE ABD-ER-RAHMAN AND MIHRAB CHAPELS.]
+
+[Illustration: CORDOVA
+
+ENTRANCE TO THE CHAPEL OF THE MIHRAB.]
+
+covered with plates of pure gold, as were the walls of the “mihrab.” The
+floor of the “maksurrah,” it is said, was paved with silver, and the
+pavements adjacent to it were covered with “sofeysafa.”
+
+The ceiling of the mosque was formerly covered with oval cartouches,
+bearing appropriate monitory inscriptions and pious sentences--such as,
+“Be not one of the negligent,” “Felicity,” “Blessing,” “There is no God
+but God, to whom all beings address themselves in their need”--thus
+inciting the minds of the faithful to contemplation and prayer. Some few
+of the cartouches are still remaining; but the inscriptions were, for
+the most part, carefully effaced when the mosque was transformed into a
+Christian temple. Those in the “mihrab,” and in the angles near the
+tower, may yet be seen.
+
+The number of brazen chandeliers of different sizes in the mosque is
+computed at upwards of two hundred, and the number of cups attached, and
+containing oil, at upwards of seven thousand. Some of the oil-reservoirs
+for the great lamps were Christian bells, deprived of their clappers;
+inverted, and suspended from the roof. It is known that in the many
+expeditions against the Christian, bells were frequently removed from
+the churches and brought to Cordova. Sometimes the metal of the bells
+was recast into forms more in accordance with the Moorish style of
+ornament.
+
+The following rites had to be observed in the service of the mosque: The
+ornaments were to consist only of brass, silver or glass lamps, which
+were lighted at night when the doors were opened for prayer. Some
+striking design was painted on the west wall, in order that the faithful
+should look in that direction. There was only one pulpit, which was on
+wheels, as the sermon was preached from any spot the Talvi wished.
+
+The courts of the mosque were paved with porcelain tiles, over which
+pure water could flow. Those who did not wash themselves at home were
+obliged to do so in the Court of Ablutions before entering the sacred
+precincts. All shoes had to be left at the door of the mosque, and no
+buildings, such as inns and hostelries, and disreputable houses, were
+allowed in the neighbourhood. No Jews were allowed to pass before it.
+Women were not permitted to enter some mosques, because they were not
+circumcised, the sultana alone having an oratory, where she prayed for
+all women.
+
+At midnight a mezzin mounted the minaret, and cried out: “God is great,
+to pray is better than to sleep”; at two o’clock in the morning he said
+the same; at four o’clock he placed a lantern at the end of a rod and
+said, “Day is breaking, let us praise God”; at the fourth prayer he
+hoisted a white flag, which was lowered at one o’clock, saying, “God is
+great.” Friday was their feast day, and a blue banner was hoisted at
+dawn, and left floating till half-past ten. The fifth prayer was at four
+o’clock in the afternoon, in winter at three; when the evening star
+appeared, the sixth prayer was called out; and at nine o’clock the last
+prayer of the day was said. Sand glasses were employed to mark the
+passage of the hours.
+
+The state of Cordova died with Almanzor; and the races, who alternately
+took possession of the throne, did not leave the least trace in the
+mosque. Finally, St. Ferdinand, King of Castile and Toledo, completely
+routed the Moors, and the mezquita was purified and dedicated to Our
+Lady of the Assumption. The following is an extract from the archives of
+the cathedral: “Let it be known that I, Ferdinand, by the grace of God,
+King of Castile, with the consent and approval of Dona Berenguele, my
+Mother, and
+
+[Illustration: CORDOVA
+
+VIEW OF THE INTERIOR OF THE MIHRAB CHAPEL.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--DETAILS OF THE INTERIOR OF THE CHAPEL OF THE MIHRAB.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--MARBLE SOCLE IN THE MIHRAB.]
+
+[Illustration: CORDOVA
+
+BASEMENT PANEL OF THE FAÇADE OF THE MIHRAB.]
+
+of Dona Juana, the Queen my wife, and of my children, Alfonso,
+Frederico, and Ferdinand, make a deed of gift to God of the Cathedral
+Church of Santa Maria of Cordova, and to you, Master Lope, my beloved
+chosen Bishop of the same, from now on, and to your successors, and the
+Chapter of Canons, &c. November 12th, 1238.” This pious monarch founded
+a chapel dedicated to St. Clement, which was erected against the south
+wall, embracing the space occupied by three naves from east to west, and
+by four transverse naves from north to south. This space was shut in
+with walls, leaving the two Arab arches inside intact, the altar
+dedicated to the saint being placed against the east wall. Many nobles
+followed the king’s example, and founded chapels, amongst them being
+that of St. Inez, erected by Piedro Diaz de Haro, in 1250, in the tenth
+principal nave, counting from the west wall, also against the south
+wall, and only occupying two transverse naves. St. Ferdinand endowed the
+cathedral so richly that on his death its benefices were very
+considerable. He was succeeded by his son, Alfonso X., who showed the
+same religious spirit as his father, giving large grants to the funds of
+the cathedral; and, in the year 1258, erecting the grand chapel,
+conceding many privileges to the work and the fabric. The donations made
+by other Christians up to this time had been of a very modest nature;
+and, as the Jews of Cordova were expending great sums on the erection of
+a synagogue, it seems as though the Christians were shamed into greater
+generosity to the cathedral, for at the same time the famous commander,
+Domingo Muñoz, erected the chapel of St. Bartholomew, and the chapter
+and the king decided to turn the mosque into a real Christian cathedral
+in developing Western architecture. The commander made his chapel in the
+angle formed by the inner south wall and the west side of the
+vestibule, or “maksurrah,” of Hakam II., taking the area of two
+principal and two transverse naves. As this chapel could not be lighted
+from outside on account of the west wing of the “mihrab,” and the
+khalif’s secret passage being behind, it was illuminated with light from
+the temple, a pointed door and four windows being made in the north
+wall.
+
+The chapter set about their work with more splendour. They selected the
+three first transverse naves of the noble apartment, beginning at the
+re-inforcing wall, which marks the prolongation of Hakam, giving to the
+single nave that they opened a length of one hundred feet from the inner
+door of the Alms Chamber to the central apartment of the three enclosed
+in the old “maksurrah.” They made the Alms Chamber into a vestibule,
+leaving the re-inforcing wall as it was without touching the bold
+ultra-semi-circular arches resting on pairs of columns; they pulled down
+the cadi’s apartment in order to make way for the transept, and also the
+three transverse naves it had occupied. The three columns in front of
+the Arab pillars, which stood in the length from east to west, were
+pulled down too, and three handsomer pillars were erected in their
+place, fortified at right angles by walls in the manner of buttresses,
+which intercepted the entire width of one transverse nave. Great pointed
+arches sprang from pillar to pillar, corresponding with the horse-shoe
+arches in front; a light and graceful dome stretched from one side to
+the other, divided into four compartments by three great arches, of
+which that nearest to the sanctuary rested on high columns, and the
+other two on well-carved brackets, with open-work borders suspended at a
+regular height above the spaces. Finally, they took the central
+apartment of the ancient “maksurrah,” where we presume the khalif sat,
+and erected there the Grand Chapel.
+
+[Illustration: CORDOVA
+
+THE MOSQUE--FRONT OF THE TRASTAMARA CHAPEL.]
+
+[Illustration: CORDOVA
+
+GENERAL VIEW OF THE CHAPEL OF VILLAVICIOSA.]
+
+[Illustration: CORDOVA
+
+NORTH ANGLE OF THE CHAPEL OF VILLAVICIOSA.]
+
+[Illustration: CORDOVA
+
+VILLAVICIOSA CHAPEL.]
+
+This chapel was built at the king’s expense, for which the grateful
+chapter resolved to celebrate the anniversary of his death, a practice
+which has been faithfully observed to the present day.
+
+The arrangement of this space was perfectly adapted for the purpose of a
+Grand Chapel; the other room adjoining to the east being converted into
+a sacristy. It was doubtless in the same condition as when finished by
+the architects of Hakam II. At the north side it had a horse-shoe arch
+corresponding with the re-inforcing wall of the same khalif, and on the
+east side it had a great arched window and two little doors at the
+sides, which communicated with the tribune of the “Alicama,” at the
+south side, giving a splendid example of the rich Byzantine style of
+the time of Hakam, and forming a combination of segment arches
+crossing in space and forming crosses of undulating ribbons in the
+intercolumniations, the whole being similar to the decoration displayed
+in front of the vestibule of the “mihrab.” We do not know how the west
+side was decorated, where this space was united with the apartment of
+the cadi, which had been pulled down. In order to convert this into a
+Grand Chapel it was not necessary to disfigure it completely; it was
+sufficient to fill up the great northern arch, which in the time of the
+khalifs was closed by the first “maksurrah,” and also to block up the
+great window at the east, communicating with the tribune of the
+“Alicama;” to leave the two little side doors open for communication
+with the sacristy, and to enlarge the sanctuary as much as necessary, to
+shut it in at the south side with glass windows, and to place the
+customary chancel at its opening. Perhaps no more than this was done;
+but who is capable to-day of saying how much respect the king’s
+architects had for Arab-Byzantine work?
+
+In the year 1260 Don Gonzalo Yanez, first gentleman of Aguilar, founded
+the Chapel of St. John the Baptist. Five years later the Bishop Fernando
+de Mesa built the Chapel of Santiago, in the south-east corner, near the
+Chapel of St. Clement. This chapel was wide and commodious, and the Arab
+arches in its area were not disturbed. In 1263 King Alfonso X. had the
+ancient aqueducts repaired, and in 1275 Prince Ferdinand gave an order
+for four Moors, who should be free from taxation, to be kept at work in
+the building operations of the cathedral. Two of these were to be
+carpenters, and two masons. This privilege was confirmed several times
+in succeeding years, and a charter exists, dated Cordova, 25th October,
+1282, which orders that all the Moors living in the city, whether they
+were artificers or not, shall work for two days of the year in the
+cathedral. It was thought that these workmen would understand the
+repairing of Moorish work better than Christians, but the task was also
+meant as a humiliation. As time went on, these workmen, more or less,
+lost the traditions of their faith and their architecture, so that they
+were really of little service in preserving the original character of
+the edifice.
+
+In 1278 the first statue of St. Raphael the Archangel was placed on the
+top of the minaret. At that time Cordova was visited by the plague,
+which worked terrible destruction amongst the inhabitants. It is related
+that St. Raphael appeared to Friar Simon de Sousa, of the Convent of Our
+Lady of Mercy, and told him that God was moved with compassion, and that
+He would take away the visitation if a statue of St. Raphael himself
+were placed on the tower of the Cathedral, and if his Feast were
+celebrated properly every year. This was done, and the plague
+immediately ceased. A new chapel to St. Bartholomew was erected in 1280
+by Martin Muñoz, nephew of the famous commander Domingo Muñoz; and after
+this, the Chapel of St. Paul,
+
+[Illustration: CORDOVA
+
+THE MOSQUE--CHAPEL OF VILLAVICIOSA.]
+
+[Illustration: CORDOVA
+
+ARAB TRIBUNE, TO-DAY THE CHAPEL OF VILLAVICIOSA, LEFT SIDE.]
+
+[Illustration: CORDOVA
+
+ANCIENT INSCRIPTION OF THE TIME OF KHALIFATE, FOUND IN AN EXCAVATION.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE.
+
+DETAIL OF THE TRASTAMARA CHAPEL.]
+
+[Illustration: THE MOSQUE.
+
+CHAPEL OF TRASTAMARA, SOUTH SIDE.]
+
+which belonged to the family of the Godois. Then followed the foundation
+of the Chapel of St. Nicholas, by a pious Archdeacon; and of the Chapels
+of St. Benedict, St. Vincent, and St. Giles, and that of Our Lady of the
+Snow.
+
+It was not thought wise to make any great efforts to introduce the art
+of the West into a city which could not as yet be considered sure of not
+falling again into the hands of the infidels. In the year 1369 Don
+Enrique, the Fraticide, came to the throne of Castile. He desired to
+carry out the wishes of his father, and to give him a place of sepulchre
+worthy of his high renown. For this purpose he ordered a Royal Chapel to
+be erected in the cathedral at the back of the Grand Chapel in the Arab
+Tribune, which served as a sacristy. He decided to bury here his
+grandfather, Don Fernando X., whose body had been laid under the grand
+chapel by order of his Queen, Constanza. This fabric must have taken
+some considerable time, for the stucco, wood and tile work are really
+wonderful. Mohammedan art had undergone a complete transformation; the
+grandiose Arab-Byzantine style had been succeeded by the effeminate
+Moorish school, first practised by the Almoravides, and after by the
+Almohades; and the Moorish architects and decorators of Cordova could
+not remain uninfluenced by the taste which had become general through
+the artificers who had renovated the Alcazar at Seville, and who had
+embellished the Alhambra at Granada. Nothing was more unlike the
+architecture of the days of Hakam II. than that employed now in the
+construction of the Royal Chapel. Two parts are noticed--an upper and a
+lower. The Moorish architect who directed the work had windows with
+ornamented arches in the new style opened in the east and west sides,
+which were longer than the others. He ordered, too, that Saracen art,
+emancipated from the Byzantine traditions, should be stamped on the
+ornamentation of the four walls, and on the cupola that crowned them.
+These arches were given festoons with lobules, which boldly, though
+corruptly, hid the true object of the curves. They were also set in
+square compartments, forming many edges beautifully worked with hammer
+and chisel. The framings were crowned with beautiful little cornices of
+small interlaced and open-worked arches, and above them ran round all
+the four sides a wide facia of little pine-shaped domes, which imitated
+stalactites of crystallised gold, having a most surprising effect, and
+of a sort until then unknown in the most famous mosque of the West.
+
+In the east and west walls, which were the longest of the rectangle, the
+arches with lobules, which could not be opened, were in relief; and
+resting on the light cornice were two tablets with lions. There were
+four of these lions--two on the western and two on the eastern facia,
+equi-distant from one another; and from each lion to that which faced
+him sprang a great arch, whose facing projected some feet over the lower
+zone, and from each lion to that by his side sprang another great arch,
+which did not project beyond the facing of the lower wall. These four
+upper arches, each one with twenty-one trefoil lobules, formed a perfect
+square, their four supports being at an equal distance, thanks to the
+ingenious method of cutting the longer sides, putting the lions
+perpendicularly over the great lower arches. Once this difficulty was
+overcome it was doubtless an easy matter to raise the cupola, which was
+to crown the fabric. The ancient dome must have been similar to that
+which has been discovered in the Chapel of Villaviciosa, but it must
+have seemed poor in the eyes of King Henry II., so accustomed to seeing
+the Moorish cupolas with stalactites; so they placed a cornice on the
+arches described above, and on this
+
+[Illustration: CORDOVA
+
+THE MOSQUE.
+
+INTERIOR OF THE MIHRAB.]
+
+[Illustration: THE MOSQUE.
+
+ARAB ARCADE ABOVE THE FIRST MIHRAB.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE.
+
+DETAILS, ARCHES OF THE MIHRAB.]
+
+[Illustration: THE MOSQUE.
+
+DETAIL OF THE MIHRAB.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE.
+
+EXTERIOR OF THE CHAPEL OF THE MIHRAB.]
+
+[Illustration: THE MOSQUE.
+
+GATE OF THE SULTAN.]
+
+[Illustration: CORDOVA
+
+PRINCIPAL ENTRANCE TO THE MOSQUE.]
+
+[Illustration: THE MOSQUE.
+
+DETAIL NEAR THE MIHRAB.]
+
+rested the segments of the circle, which form the elegant and strange
+African cupola.
+
+The following distribution is seen in the lower portion: Towards the
+middle of the east side there is an arch formed of little domes with
+stalactites, slightly pointed, sufficiently deep, enclosed in a sort of
+framing of gilded stucco, forming beautifully interlaced branches. The
+square compartment finishes at the lower end in a wide facia, which runs
+on both sides on a high socle of minute and beautiful tiling, and
+between the complicated ornaments in relief circles are formed,
+enclosing the arms of Castile and Leon. To the right side, on this same
+facia, is an ornamental arch of eleven lobules enclosed in another
+framing, entirely covered with tracery in relief, sustained by two very
+slight columns, built into the wall. Joined to this is another arch,
+much lower, with seven lobules, also ornamented, and sustained by
+columns of the same style as those just described, bearing a shield with
+the same arms. The left side has the same ornamentation, with the
+difference that both the arches have seven lobules, because the wall has
+more frontage on this side: and another difference was that in the
+north-east corner it had an ornamentation of minute open-work instead of
+a shield. The wall opposite had the same distribution with a deep
+central arch and small arches at the side, with little columns in the
+Gothic style, which show already that the style is no longer purely
+Moorish, but a sort of base mixture of the decorative art of the East
+and the West. Perhaps we may consider this the true concession of the
+Moorish artificers to the art preferred by the Court, and as their final
+abandonment of the pure style, which had been traditional with them.
+
+In 1521 the Bishop Don Alonso Manrique obtained permission from the
+Emperor Charles V. to erect the Gothic cathedral, which is in existence
+to-day. Three years later, when he visited the buildings, the Emperor
+repented having given his permission. Indeed the Christian work appears
+cold and pallid by the side of that of the Arabs.
+
+As Amados de los Rios, a great Spanish antiquary and Orientalist, sings
+in his mournful requiem over the departed glories of the mosque:
+“Neither the sumptuous Christian fabric that to-day rises in the midst
+of those countless columns, nor all the treasures of art lavished upon
+it by the celebrated artists of the sixteenth century who erected it,
+nor that interminable series of chapels of every epoch which, resting
+against the walls of the mosque disfigure it; nor the clumsy angels that
+seem to suspend their flight to shed glory over the Divine service, nor
+the words of the Evangelist sounding from the seat of the Holy Spirit,
+can dispel or banish, in the slightest degree, the majesty of those
+wandering shades that in vain seek in the sanctuary the sacred volume
+whose leaves, according to tradition, were enamelled with the blood of
+the Khalif Othman, martyr to the faith. A world of souvenirs here
+enthrals the mind of the traveller as he gazes with a feeling of sorrow
+upon these profanations--works dedicated by the intolerant, yet sincere,
+faith of our ancestors; impelled by the desire of banishing for ever
+from that spot, consecrated to the law of Jesus, the spirit of Mohammed
+and the ghosts of his slaves that haunt it, and will for ever haunt it
+while it exists. For, in spite of the mutilations it has endured, and of
+the changes it has undergone, there is impressed upon it, by a superior
+ineradicable law, the seal of the art that inspired it, and the
+character of the people by whom it was planned and erected.”
+
+Don Amados is not alone in his eloquent, if unavailing, protest. When
+Charles V. observed St. Peter’s Chapel rising out of the very centre of
+the mosque, he rebuked the Bishop,
+
+[Illustration: CORDOVA
+
+THE GATES OF PARDON.]
+
+[Illustration: THE BISHOP’S GATE.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--PILASTERS AND ARABIAN BATHS.]
+
+Alonso Manriquez, who had erected the incongruous edifice, in no
+measured terms. “You have built here,” said the king, “what you or
+anyone might have built elsewhere; but you have spoilt what was unique
+in the world.” Alas! the monarch had forgotten, or did not choose to
+remember, that the reprimand came with a very bad grace from one who,
+for his never-completed palace at Granada, had torn down whole courts
+and halls of the Alhambra.
+
+The mosque of Cordova is still to-day, by universal consent, the most
+beautiful Mussulman temple, and one of the most wonderful architectural
+monuments in the world. The susceptible Italian author, Edmondo de
+Amicis, has given us a vividly picturesque description of his first
+impression of the interior of the building. “Imagine a forest,” he says,
+“fancy yourself in the thickest portion of it, and that you can see
+nothing but the trunks of trees. So, in this mosque, on whatever side
+you look, the eye loses itself among the columns. It is a forest of
+marble, whose confines one cannot discover. You follow with your eye,
+one by one, the very long rows of columns that interlace at every step
+with numberless other rows, and you reach a semi-obscure background, in
+which other columns seem to be gleaming. There are nineteen aisles,
+which extend from north to south, traversed by thirty-three others,
+supported (among them all) by more than nine hundred columns of
+porphyry, jasper, breccia, and marbles of every colour. Each column
+upholds a small pilaster, and between them runs an arch, and a second
+one extends from pilaster to pilaster, the latter placed above the
+former, and both of them in the form of a horseshoe; so that in
+imagining the columns to be the trunks of so many trees, the arches
+represent the branches, and the similitude of the mosque to a forest is
+complete. The middle aisle, much broader than the others, ends in front
+of the “maksurrah,” which is the most sacred part of the temple, where
+the Koran was worshipped. Here, from the windows in the ceiling, falls a
+pale ray of light that illuminates a row of columns; there is a dark
+spot; farther on falls a second ray, which lights another aisle. It is
+impossible to express the feeling of mysterious surprise which that
+spectacle arouses in your soul. It is like the sudden revelation of an
+unknown religion, nature, and life, which bears away your imagination to
+the delight of that paradise, full of love and voluptuousness, where the
+blessed, seated under the shade of leafy palm trees and thornless rose
+bushes, drink from crystal vases the wine, sparkling like pearls, mixed
+by immortal children, and take their repose in the arms of charming
+black-eyed virgins! All the pictures of eternal pleasure, which the
+Koran promises to the faithful, present themselves to your bright mind,
+gleaming and vivid, at the first sight of the mosque, and cause you a
+sweet momentary intoxication, which leaves in your heart an
+indescribable sort of melancholy! A brief tumult of the mind, and a
+spark of fire rushes through your brain--such is the first sensation one
+experiences upon entering the cathedral of Cordova.”
+
+Listen again to the musings of this same impressionable writer, as he
+gazes at the ceiling and walls of the principal chapel, the only part of
+the mosque that is quite intact. “It is,” he says, “a dazzling gleam of
+crystals of a thousand colours, a network of arabesques, which puzzles
+the mind, and a complication of bas-reliefs, gildings, ornaments,
+minutiæ of design and colouring, of a delicacy, grace and perfection
+sufficient to drive the most patient painter distracted. It is
+impossible to retain any of the pretentious work in the mind. You might
+turn a hundred times to look at it, and it would only seem to you, in
+thinking it over, a
+
+[Illustration: CORDOVA
+
+INSCRIPTIONS AND ARABIAN CHAPTERS.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--A CUFIC INSCRIPTION IN THE PLACE APPROPRIATED TO THE
+PERFORMANCE OF ABLUTIONS.]
+
+[Illustration: CORDOVA
+
+ARABIC INSCRIPTIONS.]
+
+[Illustration: CORDOVA
+
+A CUFIC INSCRIPTION ON THE ADDITIONS MADE TO THE MOSQUE, BY ORDER OF THE
+KHALIF AL-HAKAM.]
+
+mingling of blue, red, green, gilded, and luminous points, or a very
+intricate embroidery, changing continually, with the greatest rapidity,
+both design and colouring. Only from the fiery and indefatigable
+imagination of the Arabs could such a perfect miracle of art emanate.”
+
+But if the mere shell of this majestic edifice, this voiceless testimony
+to the glory of a world-power that has gone the way of all temporal
+empires is still eloquent in decay, and still a force to stir the
+imagination, what must it have been when the spirit of Moslemism filled
+its courts, and the temple resounded with praise and devotion? We can
+get some idea of the impressiveness of a Mohammedan service in the pages
+of Frederick Schack’s _Poetry and Art of the Arabs in Spain and Sicily_.
+The following vivid passage is a description of the mosque of Cordova on
+a solemn fête day: “On both sides of the pulpit wave two standards to
+signify that Islam has triumphed over Judaism and Christianity, and that
+the Koran has conquered the Old and New Testaments. The ‘Almnedian’
+climb upon the gallery of the high minaret and intone the ‘salam’ or
+salutation to the Prophet. Then the nave of the mosque fills with
+believers, who, clothed in white and wearing a festive aspect, gather
+for the oration. In a few moments, throughout the edifice nothing is to
+be seen but kneeling people. By the secret way which joins the temple to
+the alcazar, comes the khalif, who seats himself in his elevated place.
+A reader of the Koran reads a Sura on the reading-desk of the Tribune.
+The voice of the Muezzin sounds again, inviting people to the noon-day
+prayers. All the faithful rise and murmur their prayers, making
+obeisances. A servant of the mosque opens the doors of the pulpit and
+seizes a sword, with which, turning towards Mecca, he admonishes all to
+praise Mohammed, while the Prophet’s name is being celebrated from the
+Tribune by the singing of the ‘mubaliges.’ After this the preacher
+ascends the pulpit, taking from the hand of the servant the sword, which
+recalls and symbolises the subjection of Spain to the power of Islam. It
+is the day on which ‘Djihad,’ or the holy war, is to be proclaimed, the
+call for all able-bodied men to descend into the battle-field against
+the Christians. The multitude listen with silent devotion to the
+discourse (woven from the head of the Koran) which begins like this:
+
+“‘Praised be God, who has increased the glory of Islam, thanks to the
+sword of the champion of the Faith, and who, in his Holy Book, has
+promised aid and victory to the believer.
+
+“‘Allah scatters his benefits over the world.
+
+“‘If he did not impel men to dash armed against each other, the earth
+would be lost.
+
+“‘Allah has ordered that the people be fought against until they know
+there is but one God.
+
+“‘The flame of war will not be extinguished until the end of the world.
+
+“‘The Divine benediction will fall upon the mane of the war-horse until
+the Day of Judgment.
+
+“‘Be you armed from head to foot, or only lightly armed, rise, and take
+your departure.
+
+“‘O, believers! what will become of you if, when you are called to
+battle, you remain with your face turned toward the ground?
+
+“‘Do you prefer the life of this world to that of the future?
+
+“‘Believe me: the gates of paradise stand in the shadow of the sword.
+
+“‘He who dies in battle for the cause of God, washes with the blood he
+sheds all the stains of his sins.
+
+[Illustration: CORDOVA
+
+THE BRIDGE ACROSS THE GUADELQUIVIR, WITH A VIEW OF THE CATHEDRAL
+(MEZQUITA). THE SCENE AS IT APPEARED IN 1780.
+
+From _Antigüedades Arabes de España_. Madrid, 1780, fol.]
+
+[Illustration: CORDOVA
+
+VIEW OF CORDOVA CATHEDRAL (MEZQUITA), AS IT APPEARED IN 1780.
+
+From _Antigüedades Arabes de España_. Madrid, 1780. fol.]
+
+[Illustration: CORDOVA
+
+WALL OF THE MOSQUE.]
+
+[Illustration: CORDOVA
+
+FAÇADE OF THE MIHRAB.]
+
+“‘His body will not be washed like the other bodies, because in the Day
+of Judgment his wounds will send out a fragrance like musk.
+
+“‘When the warriors shall present themselves at the Gates of Paradise, a
+voice from within will ask: “What have you done during your life?”
+
+“‘And they will reply: “We have brandished the sword in the struggle for
+the cause of God.”
+
+“‘Then the eternal Gates will open, and the warriors will enter forty
+years before the others.
+
+“‘Up, then, O believers! Abandon women, children, brothers, and worldly
+possessions, and go forth to the holy war!
+
+“‘And thou, O God, Lord of the present and future world, fight for the
+armies of those who recognise thy Unity! Destroy the incredulous,
+idolaters, and enemies of thy holy faith! Overthrow their standards, and
+give them, with all they possess, as booty to the Mussulmans!’”
+
+The preacher, when he has finished his discourse, exclaims, turning
+towards the congregation: “Ask of God!” and prays in silence. All the
+faithful, touching the ground with their foreheads, follow his example.
+The “mubaliges” sing: “Amen! Amen, O Lord of all beings!” Like the
+intense heat which precedes the tempest, the enthusiasm of the multitude
+(restrained, up to this time, in a marvellous silence) breaks out in
+loud murmurs, which, rising like the waves of the sea, and inundating
+the temple, finally make the echo of a thousand united voices resound
+through the naves, chapels, and vaults in one single shout: “There is no
+God but Allah!”
+
+Abd-er-Rahman I. was old when he commenced the building of the Mosque,
+and experienced in every description of architecture. His passion for
+building was as eager as that of his predecessors of the house of
+Omeyyad, who had made Damascus the envy of the world; and, during the
+frequent periods of peace, he had turned all his thoughts to the
+adornment of his capital by works which he had himself superintended.
+One of his first undertakings was to supply Cordova with water by means
+of an aqueduct, which came from the distant hills, and the vestiges of
+which are visible to this day. The water thus brought from the mountains
+was conveyed to the palace, and thence carried to every quarter of the
+city by means of conduits, from which it flowed into basins, as well as
+into lakes, enormous tanks, reservoirs and fountains. The sultan then
+planted a most delightful garden, to which he gave the name of
+Munyat-Arrissafah, in remembrance of a country seat near Damascus, which
+his grandfather, the Khalif Hisham, had built, and where he himself had
+spent the earliest years of his life. Finding the spot a very charming
+one, he erected in the middle of it a magnificent palace; and, moreover,
+made it his residence in preference to the old palace, inhabited by the
+former governors of Andalus. Having an ardent love of horticulture, he
+commissioned a botanist to procure for him in the East fruits and plants
+that could be easily naturalised in Andalus; and, in this manner, it is
+said, Abd-er-Rahman introduced the peach, and the particular kind of
+pomegranate, called “Safari,” into Spain. It is believed that this best
+species of pomegranate obtained its name from having been sent to
+Abd-er-Rahman by his sister, then residing in the East, and was called
+“Safari,” or “the Traveller,” from this circumstance. Other derivations
+of the name are given, all plausible enough. One thing is certain, the
+fruit is called to this day in Spain, “Granada Zafari,” and is
+considered the best of its kind in point of flavour, smallness of seed,
+and abundance of juice.
+
+[Illustration: CORDOVA
+
+THE MOSQUE--ARCH OF ONE OF THE GATES.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--LATTICE.]
+
+Abd-er-Rahman II. carried on the work of beautifying Cordova with
+gardens, palaces, and bridges, but it was the third sovereign of his
+name, the Great Khalif, Abd-er-Rahman III., who restored the Moslem
+supremacy in Spain, and won for himself the title of En-Nasir
+li-dini-llah (“The Defender of the Faith of God”), who placed the crown
+on Cordova’s beauty and splendour. Byzantium, perhaps, compared with it
+in the loveliness of her buildings, and the luxury and refinement of her
+life, but no other city of Europe could approach the “Bride of
+Andalusia.” “To her,” sang the old Arab writer, “belong all the beauty
+and the ornament that delight the eye and dazzle the sight. Her long
+line of Sultans form her crown of glory; her necklace is strung with the
+pearls which her poets have gathered from the ocean of language; her
+dress is of the canvas of learning well knit together by her men of
+science; and the masters of every art and industry are the hem of her
+garments.”
+
+“The inhabitants of Cordova,” says Ahmed-El-Makkari, the great Arab
+historian, “are famous for their courteous and polished manners, their
+superior intelligence, their exquisite taste and magnificence in their
+meals, dress, and horses. There thou wouldst see doctors, shining with
+all sorts of learning; lords, distinguished by their virtue and
+generosity; warriors, renowned for their expeditions into the country of
+the infidels; and officers, experienced in all kinds of warfare. To
+Cordova came from all parts of the world students eager to cultivate
+poetry, to study the sciences, or to be instructed in divinity or law;
+so that it became the meeting-place of the eminent in all matters, the
+abode of the learned, and the place of resort for the studious; its
+interior was always filled with the eminent and the noble of all
+countries, its literary men and soldiers were continually vying with
+each other to gain renown, and its precincts never ceased to be the
+arena of the distinguished, the retreat of scholars, the halting place
+of the noble, and the repository of the true and virtuous. Cordova was
+to Andalus what the head is to the body, or what the breast is to the
+lion.”
+
+To-day there is nothing left in Cordova but the mosque, the bridge, and
+the ruins of the alcazar to mark the spot where, in the time of
+Abd-er-Rahman III., a city, ten miles in length, lined the banks of the
+Guadelquivir with mosques and gardens and marble palaces. The royal
+palaces of the Great Khalif included the Palace of Lovers, the Palace of
+Flowers, the Palace of Contentment, the Palace of the Diadem, and the
+palace which the Sultan named Damascus, of which the Moorish poet sang,
+“All palaces in the world are nothing compared to Damascus, for not only
+has it gardens with the most delicious fruits and sweet-smelling
+flowers, beautiful prospects, and limpid running waters, clouds pregnant
+with aromatic dew, and lofty buildings; but its night is always
+perfumed, for morning pours on it her gray amber, and night her black
+musk.” The city contained over fifty thousand palaces of the nobles, and
+twice that number of houses of the common people, while seven hundred
+mosques and nine hundred public baths had close companionship among a
+community who made cleanliness co-ordinate with godliness.
+
+But perhaps the greatest monument of Moorish architecture that was ever
+created in Spain, the most wonderful city and palace that has ever been
+constructed, is to-day a name and a memory of which not a trace is in
+existence. That marvellous suburb of Cordova, called Ez-Zahra, “the
+Fairest,” which was built at the suggestion of the favourite mistress of
+Abd-er-Rahman III., and was
+
+[Illustration: CORDOVA
+
+THE MOSQUE--ORNAMENTAL ARCHED WINDOW.]
+
+[Illustration: CORDOVA
+
+THE MOSQUE--CAPITALS OF THE ENTRANCE ARCH.]
+
+[Illustration: CORDOVA
+
+DETAILS OF THE FRIEZE.]
+
+[Illustration: PLAN.]
+
+[Illustration: KEYSTONE OF ORNAMENTAL ARCH.]
+
+[Illustration: CORDOVA
+
+DETAIL OF THE CORNICE.]
+
+[Illustration: DETAIL OF THE CORNICE.]
+
+forty years in the making, has been entirely obliterated. At the foot of
+the “Hill of the Bridge,” at a distance of three miles from Cordova, the
+foundation of the city was laid in A.D. 936. A third of the royal income
+was expended every year in the prosecution of the work. Ten thousand
+labourers and three thousand beasts of burden were employed continually,
+and six thousand blocks of stone were cut and polished each day for
+building purposes. Many of its four thousand columns came from Rome,
+Constantinople, and Carthage; its fifteen thousand doors were coated
+with iron and polished brass; the walls and roof in the Hall of the
+Khalif were constructed of marble and gold. A marble statue of Ez-Zahra,
+“the Fairest,” was erected over the principal gateway.
+
+Arabian chroniclers have exhausted their eloquence in attempting to do
+justice to the wonders of Medinat-Ez-Zahra, and the result is so
+monotonous a surfeit of superlatives that even the beauty that inspired
+them can scarcely reconcile us to the repetition. But the historians
+occasionally drop into prose in recounting the marvels of the palace,
+and then we learn that “the number of male servants employed by the
+khalif has been estimated at thirteen thousand seven hundred and fifty,
+to whom the daily allowance of flesh meat, exclusive of fowls and fish,
+was thirteen thousand pounds; the number of women of various kinds and
+classes, comprising the harem of the sultan or waiting upon them, is
+said to have amounted to six thousand three hundred and fourteen. The
+Slav pages and eunuchs were three thousand three hundred and fifty, to
+whom thirteen thousand pounds of flesh meat were distributed daily, some
+receiving ten pounds each, and some less, according to their rank and
+station, exclusive of fowls, partridges, and birds of other sorts, game,
+and fish. The daily allowance of bread for the fish in the pond of
+Ez-Zahra was twelve thousand loaves, besides six measures of black
+pulse, which were every day macerated in the waters.” It is small wonder
+that travellers from distant lands, men of all ranks and professions in
+life, following various religions--princes, ambassadors, merchants,
+pilgrims, theologians, and poets--all agreed that they had never seen in
+the course of their travels anything that could be compared to it.
+
+“Indeed,” writes one Moorish chronicler, “had this palace possessed
+nothing more than the terrace of polished marble overhanging the
+matchless gardens, with the golden hall and the circular pavilion, and
+the works of art of every sort and description--had it nothing else to
+boast of but the masterly workmanship of the structure, the boldness of
+the design, the beauty of the proportions, the elegance of the
+ornaments, hangings, and decorations, whether of shining marble or
+glittering gold, the columns that seemed from their symmetry and
+smoothness as if they had been turned by lathes, the paintings that
+resembled the choicest landscapes, the artificial lake so solidly
+constructed, the cistern perpetually filled with clear and limpid water,
+and the amazing fountains, with figures of living beings--no
+imagination, however fertile, could have formed an idea of it.” So at
+least it struck the Moorish author, and the sight inspired him to
+ejaculate: “Praise be to God Most High for allowing His humble creatures
+to design and build such enchanting palaces as this, and who permitted
+them to inhabit them as a sort of recompense in this world; and in order
+that the faithful might be encouraged to follow the path of virtue, by
+the reflection that, delightful as were these pleasures, they were still
+far below those reserved for the true believer in the celestial
+Paradise!”
+
+The effect of all this massed splendour upon the mind,
+
+[Illustration: CORDOVA
+
+CAPITAL OF ARCH.]
+
+[Illustration: SIDE VIEW OF THE CORNICE.]
+
+[Illustration: BASES.]
+
+[Illustration:
+
+EAST FAÇADE, WITHOUT THE PORTICO.]
+
+even of those whose position and duties made familiar with the treasures
+of Abd-er-Rahman’s palaces, is illustrated by one of the ambassadors of
+the Greek Emperor. The khalif received Constantine’s emissaries in the
+great hall of the palace of Ez-Zahra, which was specially arranged for
+the occasion. The richest carpets and rugs, and the most gorgeous silk
+awnings, covered the floor, and veiled the doors and arches, and in the
+midst of the apartment was set up the royal throne, overlaid with gold,
+and glittering with precious stones. On the right and left of the throne
+stood the khalif’s sons, beside them were the viziers, and behind them,
+in the order of their rank, were ranged the chamberlains, the nobles,
+and officers of the household. The ambassadors were awed and amazed by
+the magnificence of the scene, and the orator, charged with the office
+of delivering the speech of welcome, was literally struck dumb by the
+splendour of the spectacle. With wide, staring eyes and speechless lips
+he stood spellbound, caught in a maze of wonder. This man, who had grown
+accustomed to superb beauty, who had seen splendour piled upon splendour
+under the directing hand of his master, was paralysed by the effect it
+produced. His brain reeled, and, without uttering a word, he fell
+senseless to the ground. A second orator took the embossed scroll, and
+faced the august assemblage, but the witchery of the scene hypnotised
+his senses, and he, too, hesitated, faltered, and broke down.
+
+The mere outward and visible aspect of this “brightest splendour of the
+world,” as the nun Hroswitha described it, fired the imagination of man,
+and deprived the practised orators of speech. But the mind of Cordova at
+this period of its history was as beautiful as its frame. It was the
+fountain-head of learning, the well-spring of art, the scientific centre
+of Europe. Literature became the study of every class, poetry was the
+common language of the people. The potters, the silk weavers, the glass
+blowers, the jewellers, swordmakers, and brass workers of Cordova were
+renowned throughout Europe--in all that appertained to art she was
+acknowledged to stand pre-eminent. The greatest doctors, the most
+skilled surgeons, had their homes in Cordova; and astronomers,
+geographers, chemists, philosophers, and scientists of every kind
+resorted thither to study and prosecute their researches.
+
+Under Hakam II., the Royal library at Cordova became the largest and
+most celebrated collection of books in the world; and under Almanzor,
+the powerful minister who ruled Spain for the Khalif Hisham, the beauty
+of the Imperial city was jealously maintained. But the end of the
+Omeyyad dynasty was even then in sight, the sun of Cordova’s glory was
+already commencing to set. After the death of Almanzor
+
+    “Sultan after Sultan with his pomp
+     Abode his destin’d hour and went his way,”
+
+the puppet khalifs were enthroned and deposed at the will of successive
+prevailing factions. Anarchy had broken out again, the mob was Sultan,
+and the work of pillage and plunder was begun. The overthrow of the
+Almanzor order was followed by the wrecking of the Almanzor palace,
+which was ransacked and burned to the ground. For four days the work of
+riot, robbery, and massacre went on unchecked. Palace after palace was
+reduced to ruins, gardens were devastated, the public squares ran with
+blood. The brutal, savage Berbers captured the beautiful city of
+Ez-Zahra (A.D. 1010) by treachery, and put its garrisons to the sword,
+while the flying inhabitants were chased into the sacred precincts of
+the mosque and butchered without mercy.
+
+Ez-Zahra, “the city of the fairest,” was pillaged; its palaces and
+mosques were thrown down, and the walls were given to the flames. To-day
+its site alone remains, and its glories exist only in name.
+
+
+
+
+SEVILLE
+
+
+The beginning of the history of Seville is buried, with the date of its
+foundation, in oblivion. It has its place in mythology as the creation
+of Hercules; its origin being more reasonably credited to the
+Phœnicians, who colonised the mineral-yielding region of Andalusia,
+which is watered by the Guadalquivir, and called it Tartessii. Strabo
+states that they built the town of Tartessus; and some authorities
+favour the conclusion that Seville stands on the site of that Phœnician
+stronghold. In 237 B.C. Hamilcar Barca conquered Andalusia, and his
+son-in-law founded Carthagena, which was seized by Publius Cornelius
+Scipio, or Scipio Africanus, during the second Punic War. Scipio founded
+Italica, which was to serve as a sanatorium for his invalided soldiers,
+and for awhile its importance eclipsed that of the neighbouring city of
+Seville. Honoured by the gifts of three Roman emperors born within its
+walls, and adorned with the splendid edifices raised by Trajan, Adrian,
+and Theodosius, Italica was advanced to the first rank among the Roman
+cities of the Peninsula. Julius Cæsar restored the balance of power to
+Seville in 45 B.C., when he made it his capital, and changed its name to
+Julia Romula. The city was fortified and protected by walls, which have
+been variously described as from five to ten miles in length. To-day the
+remains of the great aqueduct, the two high granite columns in the
+Alameda de Hercules, and the beautiful fragments of capitals and statues
+in the Museo Arqælogico, are the only existing relics of the Roman sway
+in Seville, while on the opposite bank of the Guadalquivir a ruined,
+grass-grown amphitheatre is all that is left of the once mighty town of
+Italica. In 584 Leovigild repaired the walls of Italica when he was
+beseiging Seville, and less than two centuries later those walls were
+greatly injured by the Moors, who further fortified and enlarged Seville
+with the stones brought from Italica.
+
+In 711 Tarik captured Cordova, and in the following year Musa, the
+Governor of Africa, appeared before Seville with an army of 18,000
+warriors. In a few weeks the city had fallen, and for 536 years the
+“Pearl of Andalusia” remained in the possession of the Moors. The
+conquerors abandoned Italica to its fate, or, rather, they used the
+remains of the city as a quarry, while some of the sculpture of the
+deserted capital, which appealed to the Arabs by its surpassing beauty,
+was removed to Seville. Despite the injunctions contained in the Koran,
+the sculptures were not destroyed, and a statue of Venus was long
+preserved in one of the public baths of the city. El-Makkari, writing in
+the sixteenth century, and quoting from an early Moorish manuscript,
+records that “there was once found a marble statue of a woman with a
+boy, so admirably executed that both looked as if they were alive; such
+perfection human eyes never beheld. Indeed, some Sevillians were so much
+struck with its beauty as to become deeply enamoured of it.” An
+anonymous poet, a native of Seville, made a set of verses about it,
+which have been translated by Don Pascual de Gayangos as follows:
+
+    “Look at that marble statue, beautiful in its proportions,
+     surpassing everything in transparency and smoothness.
+
+    “She has with her a son, it is true, but who her husband
+     was I cannot tell, neither was she ever in labour.
+
+    “Thou knowest her to be but a stone, but yet thou canst
+     not look at her, for there is in her eyes something that
+     fascinates and confounds the beholder.”
+
+It has been said that the Sevillians pretend to regard Hercules as the
+builder of the city, and the _Puerta de la Carne_ is inscribed with the
+following distich:
+
+    “_Condidit Alcides--renovavit Julius urbem,
+     Restituit Christo Fernandus tertius heros._”
+
+This has been paraphrased in an inscription over the Puerta de Xerex:
+
+    “Hercules me edificó
+     Julio Cesar me cercó
+     De muros y torres altas;
+     Un Rey godo me perdió,
+     El Rey Santo me ganó,
+     Con Garci Perez de Vargas.”
+
+Hercules built me; Julius Cæsar encircled me with walls and lofty
+towers; a Gothic king (Roderick) lost me; a saint-like king (St.
+Ferdinand), assisted by Garci Perez de Vargas, regained me.
+
+The inscription might well have included the name of the brother of
+Garci Perez, Diego de Vargas, surnamed “El Machuca,” or “the Pounder,”
+who performed prodigies of valour at the breaking of the Moorish bridge
+of boats across the Guadalquivir, when the destruction of that
+gallantly-defended means of access to the city led to the capture of
+Seville by the Christians in 1248. These two brothers are the heroes of
+Spanish ballads, and were greatly distinguished by St. Ferdinand; the
+grateful monarch freely acknowledging their prowess by the bestowal of
+houses and lands wrested from the Moors. A curious “Repartimiento,” or
+Domesday Book of Seville, is still extant, and many families can trace
+their actual possessions back to this original partition.
+
+Musa appointed his son, Abdelasis, a brave soldier and a humane ruler,
+to be governor of Seville. That he was a successful general, that he
+married Egilona, the widow of the unfortunate King Roderick, and was
+murdered by the order of Suleyman, brother and heir of the Khalif of
+Damascus, is all that history records of him. A malignant rumour, that
+he was scheming to make himself sole ruler of the Berber dominion in
+Spain, reached Damascus. Suleyman immediately sent emissaries to Seville
+with secret instructions that Abdelasis should be put to death, adding
+as an incentive to swift compliance with his order, that whoever among
+them executed the deed, should be appointed his successor as Amir of
+Seville. The delegates were armed with friendly letters to Abdelasis,
+who received them cordially, and entertained them in accordance with his
+exalted position as an amir under the khalif. It appears, according to
+the tradition, that the scheme was revealed to ’Abdullah Ibn, “who was
+the most eminent and most conspicuous officer in the army.” ’Abdullah,
+however, would have no hand in the projected assassination, but, on the
+contrary, endeavoured to dissuade the conspirators from their purpose,
+saying to them: “You know the hand of Musa has conferred benefits on
+every one of you: if the Commander of the Faithful has been informed as
+you represent, he has been told a lie. Abdelasis has never raised his
+hand in disobedience to his master, nor dreamt of revolting against
+him.” Suleyman’s emissaries, however, disregarded his words, and decided
+on the murder. One morn they stood among the rest at the gates of the
+palace, waiting till the governor should go to the mosque, and, when he
+appeared, followed him to prayer. Scarcely had he entered the “kiblah,”
+and begun to read the Koran, than one of the conspirators rushed upon
+the governor and stabbed him. Abdelasis, leaving the “kiblah,” took
+refuge in the body of the mosque, whither he was followed and slain.
+When the news spread through the city, the inhabitants
+
+[Illustration: PLATE XXV
+
+SEVILLE.
+
+Frieze in the Hall of Ambassadors.]
+
+[Illustration: Mosaic of the large Court, Alcazar.]
+
+[Illustration: Stucco work, Hall of Ambassadors.]
+
+[Illustration: Mosaic of the large Court.]
+
+[Illustration: SEVILLE
+
+FAÇADE OF THE ALCAZAR.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--GATES OF THE PRINCIPAL ENTRANCE.]
+
+were roused to fury. The assassins produced the letters and commands of
+the khalif, but to no purpose; the people refused to abide by the
+sultan’s behests, and chose ’Abdullah to be his successor. ’Abdullah
+was, however, quickly displaced by Ayub, Suleyman’s nominee, and the
+conspirators then departed to make their report at Damascus, carrying
+with them the head of the unfortunate Abdelasis.
+
+The author of the tradition, Mohammed Ibn, says that when these
+emissaries arrived at Damascus and produced the head of Abdelasis before
+Suleyman, he sent immediately for Musa. Upon his appearance, Suleyman,
+pointing to the head, said: “Dost thou know whose head that is?” “Yes,”
+answered Musa, “it is the head of my son Commander of the Faithful, the
+head of Abdelasis (may Allah show him mercy) is before thee, but by the
+life of Allah there was never a Moslem who less deserved such unjust
+treatment; for he passed his days in fasting, and his nights in prayer;
+no man ever performed greater deeds to serve the cause of the Almighty,
+or His messenger Mohammed; no man was more firm in his obedience to
+thee. None of thy predecessors would have served him thus. Thou even
+wouldest never have done what thou hast to him, had there been justice
+in thee.” Suleyman retorted, “Thou liest, O Musa, thy son was not as
+thou hast represented him; he was impious and forgetful of our religion,
+he was the persecutor of the Moslems, and the sworn enemy of his
+sovereign, the Commander of the Faithful. Such was thy son, O doting,
+foolish, fond old man!” Musa replied, “By Allah! I am no dotard, nor
+would I deviate from truth, wert thou to answer my words with the blows
+of death. I speak as the honest slave should speak to his master, but I
+place my confidence in God, whose help I implore. Grant me his head, O
+Commander of the Faithful, that I may close his eyes.” And Suleyman
+said: “Thou mayest take it.” As Musa was leaving the Hall of Audience
+one who was present wished to interfere with him, but Suleyman said:
+“Let Musa alone, he has been sorely punished;” and added: “The old man’s
+spirit is still unbroken.” But the old man, whose name had once stood
+for the symbol of conquest, whose initiative had won Spain for the Moor,
+had received his death sentence. Grief, which could not bend his spirit,
+seized upon his frame. The old man fell sick of grief and shame, and in
+a little while he was dead.
+
+Suleyman’s treachery had its first result in the removal of the seat of
+Moorish rule in Spain to Cordova. Ayub, the successor of Abdelasis,
+recognising the insecurity of his tenure in Seville, forsook “the Pearl
+of Andalusia” with all speed, and when in 777, Abd-er-Rahman proclaimed
+himself sole ruler of Spain, it was from his palace at Cordova that the
+fiat was sent forth to the world. Seville, the first and the natural
+capital of the South, dropped into second place among the cities of the
+Peninsula, and it was not until 1078 that it re-established its claim as
+the Moorish metropolis. For three hundred and fifty years the Moslems
+were faithful to the sovereignty of Cordova; and although Seville came,
+by reason of its beautiful palaces, gardens, and baths, to be regarded
+as one of the fairest cities of earth; the alcazar and the lordly
+mosque, which now bear evidence of its former grandeur, are of a later
+Moorish period. And Seville grew in beauty under, and in spite of, the
+destructive influence of strife and conflict. While Abd-er-Rahman was
+cultivating the graces of Cordova, Seville was being desolated by many
+assaults. Yusuf, and, after his death, his three sons, made attacks upon
+Seville, and Hixem ben Adri el Fehri, who had stirred the Toledans to
+insurrection, was
+
+[Illustration: SEVILLE.
+
+ALCAZAR.
+
+Hall of Ambassadors. Details.]
+
+[Illustration: SEVILLE
+
+FAÇADE OF THE ALCAZAR.]
+
+[Illustration: SEVILLE
+
+CHIEF ENTRANCE TO THE ALCAZAR, MOORISH STYLE, BUILT UNDER DON PEDRO I.
+THE CRUEL, 1369-1379.]
+
+subsequently defeated at the gates of Seville by the Governor,
+Abdelmelic. At a later date, Cassim, the son of Abdelmelic, fled with
+his army before the advance of the Wali of Mequinez, and was stabbed to
+death by his father for cowardice. Abdelmelic, who threw himself upon
+the invaders, was overcome and wounded in a night battle on the banks of
+the Guadalquivir; but, despite his hurt and his defeat, he rallied his
+soldiers, and drove the hitherto victorious Wali through the streets of
+Seville, and out again into the open country, where he was captured and
+killed.
+
+Under the shifty and opportunist rule of Abdallah, who had caused his
+brother Mundhir to be murdered to make his way to the throne of Cordova
+in 888, Andalusia was split up into a number of independent
+principalities. The turbulent Ibn-Hafsun had made himself virtual King
+of Granada, the governors of Lorca and Zaragoza rendered but nominal
+homage to the khalif, the walls of Toledo rattled with the crash of
+contending revolutionary factions, and in Seville Ibrahim Ibn-Hajjaj
+treated with the King of Cordova on equal terms. In the time of
+Ibn-Hajjaj Seville was the most orderly and best-governed city in the
+Peninsula. The poets of Cordova, the singers of Baghdad, and the lawyers
+of Medina were attracted to the court of Ibn-Hajjaj, of whom it was
+sung, “In all the West I find no right noble man save Ibrahim, but he is
+nobility itself. When one has known the delight of living with him, to
+dwell in any other land would be a misery.” Yet in 912-13, Ibrahim
+Ibn-Hajjaj, who kept his state like an Emperor, opened the gates of
+Seville to the masterful and gallant Abd-er-Rahman III., and the city
+became once more subject to the self-proclaimed Khalif of Cordova. It
+was Abd-er-Rahman who planted Seville with palm trees, beautified her
+gardens, increased the number of her palaces, and made the Guadalquivir
+navigable by narrowing the river’s channel. Ibrahim “the Magnificent”
+received the Great Khalif with the homage which a feudal lord offers to
+his king, and the independence of Seville was at an end.
+
+But Seville at this period was the rival of Cordova in intellectual
+eminence, and much of the Moorish thought and research which was
+destined to influence Spain in future ages was pondered, and practised,
+and published from the former city. Abu Omar Ahmed Ben Abdallah, called
+“El Begi,” “the Sage,” and unquestionably one of the most learned men of
+his time, was a native of Seville, and here he wrote his encyclopædia of
+the sciences. It was said that there was no man who could surpass him in
+knowledge of arts and sciences, and “even in his earliest youth,” says
+Condé, “the cadi very frequently consulted him in affairs of the highest
+importance.” Chemists, philosophers, astronomers, and men famous in
+every branch of science, resorted to “the Pearl of Andalusia;” while art
+was fostered in silk and leather manufactures, and the joy of life found
+expression in music, poetry, and the dance.
+
+The victorious expeditions of Alfonso VI. found the Moors demoralised
+from the massacres of Cordova and Ez-Zahra, and the whole of Andalusia
+in a state of ferment, anarchy, and military unpreparedness. In every
+town of importance in the South a new independent dynasty sprang into
+existence, and the Abbadites exercised kingly sway over the so-called
+republic of Seville. Some of these usurpers and pretenders, as Mr.
+Lane-Poole has pointed out, were good rulers; most of them were
+sanguinary tyrants, but (curiously) not the less polished gentlemen, who
+delighted to do honour to learning and letters, and made their courts
+the homes of poets and musicians. Mo’temid of Seville, for instance, was
+a patron of the arts, and a prince of many
+
+[Illustration: SEVILLE.
+
+Details in Hall of Ambassadors.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--PRINCIPAL FAÇADE.]
+
+[Illustration: SEVILLE
+
+INTERIOR COURT OF THE ALCAZAR.]
+
+attainments, yet he kept a garden of heads cut off his enemies’
+shoulders, which he regarded with great pride and delight. Yet Seville
+was secure and peaceful under these barbarous rulers until the menace of
+Alfonso’s inroads made Mo’temid silence the fears of his court with the
+reflection, “Better be a camel-driver in African deserts than a
+swine-herd in Castile.” So they fled from the danger of the Castilians
+to the succour that Africa was waiting to send them. A conference of
+Moorish rulers was held in Seville, and a message imploring assistance
+was despatched to Yusuf, the Almoravide king. Yusuf defeated the army of
+Alfonso near Badajoz in 1086. Four years later the King of Seville again
+besought the help of Yusuf against the Christians of the North. This
+time he came with a force of twenty thousand men at his back, and before
+the end of 1091 the leader of the Almoravides had captured Seville and
+established a dynasty which was to last until its overthrow by the
+Almohades in 1147.
+
+The Almoravide rule, which was distinguished in the beginning by piety
+and a love of honest warfare, ended in tyranny and corruption, and the
+Almoravides gave place to a race more pious and fanatical than the
+demoralised followers of Yusuf had ever been. For a hundred and one
+years the Almohades remained masters of Seville. The monuments of their
+devotion and artistic genius are extant in the mosque and the alcazar,
+and we know that under Abu Yakub Yusuf a new era of commercial
+prosperity set in for Seville, and a new light arose to illumine the
+fast deepening shadows which fell over the vanishing glory of Cordova.
+The thunder of the blows which had reduced “the City of the Fairest” to
+a heap of ruins still echoed in the air, and mixed with the noise of the
+builders and artificers who were re-moulding Seville “nearer to the
+heart’s desire.”
+
+The remains of Moorish architecture which we find in Cordova, in
+Seville, and in Granada, enable us to realise that the civilisation and
+art of the Spanish Moslems were progressive, and that each stage
+developed its varied and singular characteristics. “The monuments of
+Seville,” says Contreras in his _Monuments Arabes_, “produce quite a
+peculiar effect on the mind, a sublime reminiscence of ancient and
+profound social transformations, which only the inartistic aspect of bad
+restorations can dissipate--a vandalism inspired by the desire to see
+the building shining with colour and gold, and which impelled people to
+restore it without paying the smallest heed to the most elementary
+principles of archæology. The alcazar of Seville is not a classic work;
+we do not find in it the stamp of originality, and the ineffaceable
+character that one admires in ancient works like the Parthenon, and in
+more modern ones like the Escurial; the first on account of their
+splendid simplicity, and the latter for their great size and taciturn
+grandeur. In the alcazar of Yakub Yusuf, the prestige of a heroic
+generation has disappeared, and the existence of Christian kings, who
+have lived there and enriched it with a thousand pages of our glorious
+history, is perfectly represented there. The Almohades who left the
+purest African souvenirs there, and Jalubi who followed Almehdi to the
+conquest of Africa, left on the walls Roman remains, taken from the
+vanquished people. St. Ferdinand, who conquered it; Don Pedro I., who
+re-built it; Don Juan II., who restored the most beautiful halls; the
+Catholic monarchs, who built chapels and oratories within its precincts;
+Charles V., who added more than half, with the moderated style of this
+epoch of sublime renaissance; Philip III., and Philip V., who further
+increased it by erecting edifices in the surrounding gardens; all these,
+and many other princes and great lords, who inhabited it
+
+[Illustration: SEVILLE
+
+ALCAZAR--ARCADE IN THE PRINCIPAL COURT.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--VIEW OF THE INTERIOR.]
+
+for six centuries, changed its original construction in such a degree
+that it no longer resembles, to-day, the original Oriental monument,
+although we have covered it with arabesques, and embellished it with
+mosaics and gilding.”
+
+All that succeeding generations have constructed in the alcazar has
+contributed to deprive it of its Mohammedan character. Transformed into
+a lordly mansion of more modern epochs, one no longer sees there the
+voluptuous saloons of the harem, nor the silent spaces reserved for
+prayer, nor the baths, nor the fountains, nor the strong ramparts,
+supporting the galleries, which, by circular paths, communicated with
+the rich sleeping apartments, situated in the square towers. It is not
+that Arab art is in a different form here to that seen in other parts of
+Spain; but while the Moors always built palaces in close proximity to
+fortified places, they here combined the two, and for that reason they
+sacrificed the exterior decoration to the works of fortification and
+defence. On approaching the palace, one finds marks of grandeur, but one
+must not look for them in the structure, but rather in the numerous
+reparations and additions which have been made there, and also in the
+solid walls, dominating the ruins of those castles, which seem to
+protest eternally against the cold indifference with which so many
+generations have passed over them. And if, on the one hand, there is no
+doubt that this is the old wall or the ancient tower, on the other hand,
+the traveller, greedy for impressions left by a past world, finds
+nothing but square enclosures, gardens and rectangular saloons of the
+mansions of the 16th century. Here there is nothing so majestic as the
+Giralda; nothing so essentially Oriental as the mosque of Cordova;
+nothing so fantastic and so picturesque as the alcazar of Granada. One
+only sees here the chronicle of an art, carried out by a thousand
+artists, obeying different beliefs, and which presents rather the
+appearance of a game played by children who had invaded the spot where
+the most valued works of their ancestors were preserved, rather than the
+passionate conception of the terrible descendants of Hagar, who in fifty
+years invaded half the globe. But one still catches something of the
+spirit of an art that was almost a religion, as one lingers in the quiet
+gardens of the alcazar; the deep impress of the Moor will never be
+entirely obliterated from the courts and saloons of this palace of
+dreams. As Mr. W. M. Gallichan writes: “The nightingales still sing
+among the odorous orange bloom, and in the tangle of roses, birds build
+their nests. Fountains tinkle beneath gently waving palms; the savour of
+Orientalism clings to the spot. Here wise men discussed in the cool of
+summer nights, when the moon stood high over the Giralda, and white
+beams fell through the spreading boughs of lemon trees, and shivered
+upon the tiled pavements. In this garden the musicians played, and the
+tawny dancers writhed and curved their lissom bodies in dramatic Eastern
+dances.”
+
+Ichabod! The moody potentate, bowed down with the cares of high office,
+no longer treads the dim corridor, or lingers in the shade of the palm
+trees. No sound of gaiety reverberates in the deserted courts, no voice
+of orator is heard in the Hall of Justice. The green lizards bask on the
+deserted benches of the gardens. Rose petals strew the paved paths.
+One’s footsteps echo in the gorgeous patios, whose walls have witnessed
+many a scene of pomp, tragedy, and pathos. The spell of the past holds
+one; and, before the imagination, troops a long procession of
+illustrious sovereigns, courtiers, counsellors, and warriors.
+
+This wonderful monument, which has moved generations of artists and
+poets to rhapsody and praise, and inspired
+
+[Illustration: SEVILLE.
+
+ALCAZAR.
+
+Details of Hall of Ambassadors.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--COURT OF THE DOLLS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--COURT OF THE DOLLS, MOORISH STYLE, BUILT 1369-1379.]
+
+that picturesque Italian author, De Amicis, to people the gardens of the
+alcazar with Mo’temid and his beautiful favourite, Itamad, who had been
+dead nearly a century before the alcazar was erected, failed to create
+any impression in the mind of Mr. John Lomas, whose strictures upon the
+place in his _Sketches of Spain_ must ever be a standing reproof to
+those who dare to see Oriental beauty in this Sevillian castle. “Greater
+far,” says Mr. Lomas, “is the alcazar in reputation than in intrinsic
+worth. Like the Mother Church, it forms a sort of sightseers’ goal, and
+it shares equally in the good fortune of so entirely satisfying the
+requirements of superficial observers, that it is esteemed a kind of
+heresy to take exception to its noble rank as a typical piece of Moorish
+work. Yet it is just a great house, of southern and somewhat ancient
+construction--say the fifteenth century--with a number of square rooms
+and courts, arranged and decorated after Arab models as far as was
+possible in the case of a building designed to fulfil the requirements
+of Western civilisation. Nothing else. Of course, if the courts and
+towers of the Alhambra have not been seen--or are not to be
+compassed--there will be found here an infinity of fresh loveliness in
+design and colouring, together with a vast amount of detail which will
+repay study. But even then it must all be looked upon as an exceedingly
+clever reproduction of beautiful and artful forms, not as their best
+possible setting forth, or type. There are dark winding
+passages--evidently dictated by the exigencies of the work--but they
+yield none of the delicate surprises which form so great a charm of the
+old Moorish monuments. There is any amount of rich decoration and
+Moresque detail; but never the notion of the luxury and voluptuousness
+of Eastern life, or a suggestion of its thousand-and-one adjuncts. There
+are, here and there, indubitable traces of the original Eleventh
+Century alcazar of Yakub Yusuf” (it was not built until the latter part
+of the twelfth century) “but there is nothing either distinctive or
+precious about them, and the rest is a record rather of Christian than
+Arab ways.”
+
+Mr. Lomas is perfectly correct in suggesting that the alcazar of Seville
+is, in great measure, a reproduction of the delights of the Alhambra, a
+reproduction due, without any doubt, to that school of architecture
+which embellished the sumptuous palace of Granada for the kings of the
+second Nazarite dynasty. In it we see the record of the ingenious
+almizates, of its gates and ceilings, of those stalactited domes, which
+dazzle and confuse, of those wall-facings encrusted with rich
+ornamentation, of those graceful Byzantine and Moorish geometrical
+designs, which even to-day are the despair of perspective painters, of
+those enchanting saloons where the genius of harmony seems to rest, and
+of those balmy gardens which invite repose, meditation, and melancholy.
+
+While it is generally accepted that the city of Seville possessed no
+alcazar of striking importance until the declining power of the
+khalifate of Cordova made Seville the capital of an independent kingdom,
+there is substantial reason for believing that in the foundations of the
+present superb edifice there are unmistakable relics of an earlier work
+of truly Arab architecture. The Almohades so thoroughly effaced and
+distorted the magnificence of their predecessors’ work that it would be
+impossible to point with certainty to any of the original remains of
+this many-times-restored palace. The ultra-semi-circular arches which
+are seen in the Hall of the Ambassadors, those graceful arches which
+carry the mind from Seville to the graceful arcades of the mosque of
+Cordova, incline one to regard this apartment as a relic of Abbadite
+antiquity, while the rich columns with
+
+[Illustration: PLATE XXIX.
+
+Blank Window.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--THE COURT OF THE DOLLS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--RIGHT ANGLE OF THE COURT OF THE DOLLS.]
+
+[Illustration: PLATE XXX.
+
+Soffit of Arch.]
+
+their gilded capitals of the Corinthian style appears to contain
+authentic proof of their Arabic-Byzantine origin. Señor Pedro de
+Madrazo, whilst admitting the difficulty of determining the period to
+which the various parts of the alcazar belong, disregards the
+conclusions of Señores José Amador de los Rios and his son Rodrigo, who
+resolutely denied the antiquity of these ultra-semi-circular arches, and
+declares the Hall of Ambassadors to be an example of Abbadite
+architecture. He further attributes to the same epoch, the showy
+ascending arcade of the narrow staircase which leads from the entrance
+court to the upper gallery, and rises near the balcony or choir of the
+chapel, and the three beautiful arches, sustained by exquisite capitals,
+which remain as the sole relic of the decoration of the abandoned
+apartment situated close to the “Princes’ Saloon.”
+
+In his work on “Sevilla,” the same authority distinguishes between the
+art of the Mudejare, or transition artificers, and that of the Almohado
+Moors. “The latter art,” he observes, “is less simple, less select in
+its ornamentation, discloses less rational regularity, and is, generally
+speaking, more affected.” These differences may be seen in a comparison
+between the Moorish Giralda of Seville and the beautiful creation of
+artists of the Arab-Andalusian period which are to be studied in the
+ornamental parts of the Alhambra. The Almohade architecture displays a
+base taste, which imitates rather than feels, and creates forms by
+exaggerations which are unsuitable to the design, and thus differs in
+æsthetic principles from the Mudejaren-Moorish work of the 13th, 14th,
+and 15th centuries, which reveals an instinctive feeling for the
+beautiful in ornamentation, which never loses sight of the elegant, the
+graceful, and the bold, and consequently never falls into aberration.
+The Almohade period, in short, discloses at once the force of the
+barbarous spirit civilised by conquest, while the latter offers the
+enduring character of cultured taste and wisdom in all the epochs of
+prosperous or adverse fortune; both are the faithful expression of
+people of different ages, origins, and aptitudes. “It is certain,”
+declares Señor de Madrazo, “that the innovations which characterise
+Mussulman architecture in Spain in the 11th and 12th centuries, cannot
+be explained as a natural mutation from the Arab art of the khalifate,
+or as a preparation or transition to the art of Granada, because there
+is very little similarity between the style called secondary or Moorish
+and the Arab-Byzantine and Andalusian, while on the other hand it is
+evident that the Saracen monuments of Fez and Morocco, of the reigns of
+Yusuf ben Texpin, Abdel-ben-Ali, Elmansur and Nasser, bear the principal
+character of the ornamentation which the Almohades made general in
+Spain.”
+
+It must always be remembered when approaching the forbidding exterior of
+the alcazar, that it was erected to serve the purpose of a fortress as
+well as a palace. Yusuf is supposed to have used a Roman prætorium as
+the foundation of his castle, and there are parts of the wall which date
+back to Roman times. But the principal gateway which gives entrance to
+the palace is of Arab origin, and it is evident that all the upper part,
+from the frieze with the Gothic inscription, is purely Mohammedan,
+according to the Persic style, very much used in the entrances to
+mosques of the first period, in Asia. The two pilasters, in their entire
+height, as well as the sculptured framing of the lower part, are of the
+Arab style; but the balconies with arches, and Byzantine columns, the
+Roman capitals, the lintels of the doors and windows with Gothic
+springs, are indications, which prove the reconstruction of the time of
+Don Pedro. The later restorations have not completely
+
+[Illustration: SEVILLE
+
+ALCAZAR--COURT OF THE DOLLS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--UPPER PART OF THE COURT OF THE DOLLS.]
+
+changed the primitive form, but have only modified it. On entering the
+palace one finds other works less Arab than these, the ornaments do not
+form an integral part of the decoration, and one can observe that in
+order to place them it was necessary to remove inscriptions and
+Mohammedan shields which filled the little spaces.
+
+But in passing this square entrance, whose form recalls Egypt, and which
+began to be used when the horseshoe arch was no longer in vogue, we find
+ourselves in the chief courtyard of the alcazar, which makes a slight
+detour in order not to be overlooked from the street, and which offers
+an extravagant assemblage of lines without departing from exactness. The
+actual lines of this superb edifice, mentioning principally the two
+types of architecture which prevail, are the Moorish of the works
+erected from 1353 to 1364, and the Renaissance, in the works carried out
+under the monarchs of the house of Austria.
+
+It is curious that while the Alhambra was allowed to fall into decay,
+and suffered periods of neglect that could be reckoned by scores of
+years at a stretch, the alcazar has seldom been free from the hands of
+the restorers. The fact accounts, of course, for the splendid state of
+preservation in which it is to be found to-day, but it also owes to it
+the weird incongruity of style and decoration which lovers of pure
+Moorish art deplore. After Pedro had almost entirely reconstructed the
+palace--and to him the alcazar owes many of its best portions--it came
+under the restoring influence of Juan II., that weak but artistic
+monarch, whose handiwork is seen in some of the chief apartments. The
+arch-vandal, Charles V., whose palace in the Alhambra would be a work of
+art anywhere save on the spot on which he chose to erect it, could not
+be expected to spare the alcazar. Under his direction the greater
+portion of the Renaissance additions were made, and the portraits of
+Spanish kings hung in the Hall of Ambassadors were introduced by his
+successor. In the 17th century this favourite residence of the kings of
+Spain attained to the zenith of its magnificence; and then for a whole
+century the palace was allowed, for the first and only time, to fall
+into a state of disrepair. Spain was passing through troublous times,
+and its rulers had weightier matters to absorb their attention. The
+alcazar, stricken by neglect, shrank to something like its original
+proportions, and its beauties fell into decay. In the middle of the 19th
+century Queen Isabella II. rescued the ancient structure from the
+ravages of time, and the present order and distinction which it now
+enjoys is largely due to her timely efforts.
+
+After the restorations made by Don Pedro were finished, the alcazar had
+various entrances, but the principal were the two opened in the old Arab
+wall, which lead to the courts called the “Banderas y de la Monteria.”
+The delicate pointed arches which composed them were almost hidden
+between the massive towers of the neighbouring minaret; nothing
+externally reveals the dazzling beauty which is to be seen behind these
+walls.
+
+In the courtyard one sees very fine ornaments placed hap-hazard, which
+had been left over from the last restorations of the palace of Granada,
+and which were sent here without any consideration for period or style.
+That this system prevailed can be proved by reference to the archives of
+the royal patrimony, where there is a document requesting, on the part
+of the keeper of the alcazar, that some of the “best” arabesques, which
+were being used for the restorations at Granada, should be sent to
+Seville. These ornaments, of different epochs and styles, can be seen on
+the walls of the alcazar, face to face with others corresponding to the
+
+[Illustration: SEVILLE
+
+ALCAZAR--UPPER PORTIONS OF THE COURT OF THE DOLLS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--COURT OF THE DOLLS.]
+
+infancy of the art. The Alhambra does not suffer from these
+incongruities, because it has not suffered a great transformation
+similar to that which the alcazar underwent at the hands of Don Pedro.
+It has not been altered to suit the requirements of a Christian court,
+and it has never been occupied by great personages, with large revenues
+at their disposal, to reconstruct it according to their caprice.
+
+The ornaments of the ceilings of the alcazar are magnificent, because,
+as Contreras points out, the Moorish workmen were beginning to
+understand all the majesty and grandeur that Christian art stamped upon
+the complicated and minute assemblage of Mussulman edifices; they began
+to make rich coverings, with bolts or stays with apertures, and with
+hollows in the form of an arch, and keystones imitating rhombus, stars,
+and bow ornaments. The famous Gothic roofs and ceilings of the Bretonne
+buildings of the ninth century have never been able to equal this one,
+because here one finds more beautiful specimens than in the other
+edifices, when the vaults with little stalactites had not yet acquired
+their complete development. The perfectly-worked and carved designs of
+the doors give a great relief to the palace. One remarks here that the
+ceilings are less magnificent or luxurious, when the ornamentation is
+less classic, and, as at Fez, the walls were covered with hangings
+instead of reliefs in plaster; and then they used more gold in the
+cornices, in the friezes, in the domes, in the lintels, and in the
+crownings, whilst the walls remained bare, as in the Moz-Arabian
+constructions. There was here such a mixture of styles, such a confusion
+of ideas, and such a number of little quadrangular windows, which
+interrupt the general line of the ornamentation, as one does not see
+anywhere else. One sees, too, walls covered with arabesques, stretching
+like pieces of tapestry or coverings of bright colours, and which
+produce a rich effect, beautiful and varied, thought-out and
+elegant--but not at all simple--which is the chief condition of art in
+the epochs of great culture.
+
+In going through this alcazar one sees nothing but square saloons, one
+following the other, of the same shape and dimensions, occasionally
+varied by the composition of the arabesques traced there. Symmetry has
+been sacrificed to convenience, and the central arches to the alignment
+of the doors. In the time of the Arabs the alcazar constituted a series
+of constructions, flanked by the walls and the towers, which surrounded
+the town, which had not the symmetrical form of the rectangular plan of
+the buildings of the Renaissance. Neither does it resemble the palaces
+of Egypt or of Syria. These quays, placed side by side, give this
+edifice the appearance of a Christian house of the fifteenth century;
+and one can only confidently give the name “Arab” to the Court of the
+Damsels, the Hall of Ambassadors, and the apartments immediately
+adjoining it.
+
+The Court of the Banners, and of the Hunters, lead to the Court of the
+Principal Façade, where one sees the first specimen of Mussulman
+decoration! In all these divisions the monument is only revealed by the
+vestiges of battlements of the towers and of the walls, in which the
+original doors were opened, and where the sultans had the chambers for
+judging the quarrels of their subjects,--a custom perpetrated by the
+Christian monarchs. In the Court of the Hunters one can still see the
+apartment named the Hall of Justice, where all writers suppose that the
+audiences were held. Here Don Pedro held his tribunal; and the
+traveller, Don Antonio Ponz, asserts that he saw one of the columns of
+the memorable seat occupied by the monarch when he held those famous
+audiences, which were an imitation of the
+
+[Illustration: SEVILLE
+
+ALCAZAR--THE LITTLE COURT.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--VIEW IN THE LITTLE COURT.]
+
+[Illustration: PLATE XXXI.
+
+Cornice at Springing of Arch of Doorway at one of the Entrances.]
+
+judgments of the East and of the feudal lords of the West, and which
+magnified the idea of justice in the eyes of foolish and irreflective
+people, but which were held by men of good sense to be a mere pretence
+of equity, with which to mask his tyranny. The place where justice was
+administered in the time of the Almohadan kings was in the Court of the
+Monteria--a vast and beautiful apartment, one of the oldest
+constructions in the alcazar, and of a more purely Moorish style.
+
+The Court of the Hunters leads to another larger court, known as the
+Princes’ Hall. This is more regular in form, and in it rises the chief
+entrance, dazzling and richly ornamented with painting and gilding, from
+its twin windows to the topmost moulding of its projecting eaves, of the
+purest Almohadan style. How can one describe it? Not only the entrance,
+but the whole façade is of precious marbles, the capitals of the columns
+being in the most exquisite Moorish taste; and the facia of interlaced
+arches above the doorway display the escutcheons of Castile and Leon;
+while round another facia, running between the brackets over the twin
+windows of the principal floor, there is a legend in Gothic characters,
+which says: “The very high, and very noble, and very powerful, and very
+victorious Don Pedro, King of Castile and Leon, commanded these
+alcazars, and these palaces, and these doorways to be made, which was
+done in the era of one thousand four hundred and two.” The cupola of the
+Princes’ Hall rises above this façade, its outer walls being adorned
+with little arches and blue tile work, in imitation of a pyramid, and
+bearing at its summit, in the Oriental fashion, a weather-cock with
+gilded spheres.
+
+On entering the vestibule, one sees first the result of unfortunate
+modern reformations, little rooms or recesses to right and left, now
+almost stripped of their ancient ornamentation. On taking the corridor,
+which is at the back of a sort of ante-chamber, nearly square, one
+arrives at the chief inner court called the Court of the Damsels. There
+is an unfounded tradition which says this court derives its name from
+the disgraceful tribute of one hundred damsels levied by Mauregato, and
+paid to the khalifs of Cordova, it being supposed that the throne upon
+which the Moorish king sat when receiving this tribute was situated in
+this court. In point of fact, as Pedro de Medrazo reminds us, there were
+no Moorish kings in Spain, and neither was Seville the capital of the
+Andalusian khalifate, nor can it be asserted that there was a Saracen
+palace there before the eleventh century. Without any doubt this court
+was part of the great restorations of the fourteenth century. Its plan
+is a rectangle, with galleries of marble columns in couples and pointed
+mitred arches; the central arches of each side are higher than the rest,
+and instead of resting, as these do on the columns, they are supported
+by small square pillars, which appear to be held up by the capitals.
+These small pillars have beautiful little columns at their angles, which
+at first sight seem to be a prelude to the caprices of the Renaissance,
+which loved so much to surmount one style by another; but here it is
+really an accident very characteristic of the Arabic-Granadian
+architecture, such as is often to be noticed in the Courts of the
+Alhambra.
+
+These arches are only seen in the façade here, in the House of Pilate,
+and in the buildings of the eighth century in the East. One could not
+explain them unless there were hanging decorations, such as tapestries
+attached to the walls, which were neither seen nor guessed in the
+intercolumniations. It is a strange shape, which is elegant on account
+of the lobules, the point, and the horseshoe-formed
+
+[Illustration: SEVILLE
+
+ALCAZAR--VIEW OF THE HALL OF AMBASSADORS FROM THE LITTLE COURT.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--HALL OF AMBASSADORS.]
+
+span, which at a later period regulated the arches of the palaces of
+Fez, of Tunis, and of Cairo.
+
+The second gallery of the Court of the Damsels, added to the ancient
+construction, is an addition of little importance; but it is a fine
+court, if one considers the modifications of its style, its socles
+showing beautiful panels of decorated porcelain of admirable delicacy.
+Different doors lead to the saloon of Charles V., to that of the
+Ambassadors, and to those of the “Caracol,” or of Don Maria de Padilla.
+They have scarfs cut into polygons, which cover them on both sides, but
+this fine work has been badly restored with stucco barbarously painted.
+
+The Hall of Ambassadors is a square apartment of a solemn aspect, with
+four frontages composed of high arches, which enclose twin windows,
+placed on slender columns, whose little arches are more than
+semi-circular, without having the characteristic form of the
+horse-shoe,--a curve which marks the decadent transition. The capitals
+are degenerate Greco-Roman; but the great decorative arch with running
+knots, although it has an Arab curve, has not the two squares in height
+from the floor of the hall, and that deprives it of elegance in its
+ornamentation. The spaces, or triangles, are not original, the work is
+interrupted, as in the inner side of the wall of the frontage, by
+shutters which open, as though escaping from the tympan of the twin
+windows. A wide frieze of windows, or painted transparencies, stretches
+above, in an admirable manner, and higher still there is a geometrical
+band of ornaments in the form of knots, and then come architraves and
+supports on which the roof rests. The sub-basements of porcelain are
+adorned with arabesques, and the connecting doors are decorated with
+almost exaggerated profusion. The open balconies, with the eagles on
+their consols, are an eternal affront for him who had them made; and we
+may say the same thing of the portraits with Gothic frames, placed under
+the arch-like hollows of the walls, and also of the gilding, which has
+not the fine ornamentation of blue, red, and black, which renders these
+little vaults more graceful, when they are done by Arabs. The spherical
+cupola, with rafters with arabesques forming stars of symmetrical
+polygons, may have been constructed for stained glass windows at a
+higher light, but later it was ineffectively decorated with little
+mirrors. The mosaics have been restored with pieces larger than the
+originals, and the jasper columns seem to be Roman and not Arab, as do
+many others of the decadence; and the capitals too, without uniformity,
+and unsuited to the columns, appear to be Moz-Arabian work, which is
+seen in many of the Saracen mosques.
+
+The type of the African inscriptions in the alcazar is not as fine or as
+pure as are those in the Hall of Comares at Granada; but on the other
+hand the classic character of the cufic inscriptions here is more
+uniform and more simple. The ornaments, in the shape of leaves, of pine
+cones, and of palms interlaced with ribbons, with geometrical outlines,
+is a style that is no longer seen after the beginning of the Thirteenth
+Century. The little windows, in parallelograms above the doors, the
+Roman imposts, the Gothic carvings, and the escutcheons with broken
+chiselings shown in this palace, are the work of several generations who
+were wanting in the consciousness of art.
+
+Yet the Hall of Ambassadors is beyond dispute the most splendid and
+beautiful apartment of all the palaces of Moorish architecture belonging
+to the Crown in Spain. The painting and gilding of arabesques, the
+lovely carved wooden ceilings, now shaped like inverted bowls, now like
+sections of a sphere, and now like capricious many-sided
+
+[Illustration: SEVILLE
+
+ALCAZAR--INTERIOR OF THE HALL OF AMBASSADORS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--HALL OF AMBASSADORS.]
+
+figures, which reflect the light and shade with a marvellous effect; the
+inscriptions in African characters; the rich doors of marquetry,
+surrounded by Arabic invocations (a beautiful work done by artificers of
+Toledo); the columns of various marbles with capitals of exquisite cut,
+now primitive, now Almohadan, now Moorish; the variegated marble of the
+pavement, the perforated stucco of the partitions, the ingenious work,
+with birds introduced in the doorways; and finally this strange
+combination of five different styles, which in theory is so impossible,
+and in practice so harmonious--Arabic, Almohadan, Gothic, Granadian, and
+Renaissance--to be seen in so many apartments of the alcazar, but more
+especially in this hall, are things which the pen could never describe
+satisfactorily, and which must be left to the impression produced by a
+sight of the original, or to a contemplation of its pictured
+representation. For this reason one may not endeavour to describe,
+either technically or minutely, this magnificent hall, to the gradual
+architectural composition of which overseers and workmen of so many
+different times contributed. The Abbaditas made the bold horse-shoe
+arches of the lower part; the Almohadans, and afterwards the school of
+Christians of Granada which arose, carried out the work of ornamenting
+the walls with the ornamental arches, the perforated windows, the facias
+of little interlaced arches, and the inscriptions; and they covered the
+hall with the marvellous dome shaped like an inverted bowl. It is
+probable that the architects of the Catholic monarchs constructed the
+third body in the pointed style, forming a series of corrupted trefoils
+bordered with lilies, in whose centres the portraits of the kings of
+Spain, from Chindasvinto, are reproduced; and, finally, the kings of the
+House of Austria added the third body of the decoration, four balconies,
+of great projection, which doubtless formerly were twin windows
+(ajimeces) with one or more columns, supported by griffons gilded, and
+of bold outline.
+
+It was probably in this saloon that the ceremonious and perfidious
+reception of Abu Said, King of Granada, by Don Pedro took place. The
+usurper of the Throne of Granada presented himself to the owner of the
+alcazar, thinking he had ensured his personal safety by the gifts he had
+forwarded, and by his complete submission to the wishes of his host. But
+after being entertained at a splendid supper, he was rewarded with
+prison, and death, accompanied with the most horrible mockeries. Amongst
+the jewels, with which the unhappy Abu Said is supposed to have hoped to
+win the heart of his faithless enemy, was the immense ruby, which to-day
+shines in the royal crown of Edward VII. It was given by Don Pedro to
+the Black Prince; it later came into the possession of Queen Mary Stuart
+of Scotland, and through her son, James I., returned once more to
+England.
+
+If the Hall of Ambassadors is rich, the Court of the Dolls is not less
+so in its own style. This, with some other saloons, constituted one of
+the remaining splendours of the alcazar which are associated with Don
+Fadrique, Master of the Order of Santiago, the timid son of Alonso XI.
+We cannot tell from what source this court has received its modern
+denomination. In the old chronicles there is no trace of such a name;
+but they, and tradition, have handed us down copious notes, all of which
+make this part of the alcazar the theatre of that sanguinary drama of
+the Fourteenth Century. After reading these chronicles and romances, one
+imagines the ghosts of the actors moving about the apartments; one sees
+Don Pedro, who has already planned his execrable plot, receiving, with
+false expressions of interest, his half-brother Don Fadrique; one sees
+the lovely Padilla,
+
+[Illustration: SEVILLE
+
+ALCAZAR--THRONE OF JUSTICE.]
+
+[Illustration: ALCAZAR--HALL OF AMBASSADORS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--FAÇADE OF THE COURT OF THE VIRGINS.]
+
+[Illustration: PLATE XXXII.
+
+Borders of Arches.]
+
+sad and terrified in her room, in the “caracol” apartments, wishing to
+reveal the danger which awaits him to the Master, but not daring to do
+so; and one also seems to feel the impending doom of the eccentric
+prince, when he is deprived of the help of his servants, whom the
+porters force to leave the courtyard with their mules, where they were
+waiting for their lord. And finally we see the return of Don Fadrique to
+the presence of the irritated monarch, who has called him, and who has
+ordered that his companions shall be detained outside the doors, whilst
+the stewards of the king kill his unfortunate brother. Fadrique, after a
+desperate struggle, manages to escape from the murderers and to reach
+the court, looking for the postern of the corral, which he fancies is
+open--all the time making unavailing efforts to draw his sword, the
+handle of which has become entangled in the cords of his sash--and there
+at last he falls, his head being crushed by a blow of a club. Other
+accounts declare that when Fadrique returned to Don Pedro’s apartment,
+after paying a courtesy visit to Maria de Padilla, he was met with the
+sentence, shouted in the king’s voice, “Kill the Master of Santiago!”
+Don Fadrique drew his sword and made a valorous defence, but was
+overpowered and struck down by blows on the head. Seeing that his
+half-brother was still breathing, the king handed his own drawn dagger
+to an attendant and commanded him to kill the Master outright.
+
+To-day we cannot say positively which was the “Palacio del Yeso,” or
+“Palace of stucco or lime,” where Don Pedro received his unhappy
+half-brother, nor yet which were the apartments of the “caracol.” It is
+thought the court which has the chief façade of the alcazar was that
+which in the chronicle is called the “caracol,” and that the “postern”
+was that which led from this court to that of the “banderas.” It is
+true that tradition persists in pointing out the Court of the Dolls and
+the Hall of Ambassadors as the theatre of this horrible fraticide,
+without taking into account the notes of the historian, who relates that
+Don Fadrique, pursued by his murderers, ran in the direction of the
+postern, where he had been warned that he could make a stand, but found
+that all his escort had been driven out.
+
+The King Don Pedro fills with his grand sinister figure the apartments
+which he occupied, and even those added by later monarchs, just as the
+whole gloomy pile of the Escurial seems to be haunted by the ambiguous
+personality of Philip II. Sad privilege of despots; the terror which
+they inspire in life, survives them, freezing the smile of happiness on
+the lips of generations, who are free from their malevolent actions,
+even in the very chambers which they dedicate to their pleasures.
+
+The architecture of the Court of the Dolls is purely in the style of
+Granada. The surface of the arches is covered with minute mosaic work,
+and they rest upon beautiful brick pillars, sustained by marble columns
+with delicate capitals, while the double partitions, covered with
+perforated work, are of brick, wood, and stucco. Delicate tints cover
+the ornamentation with a beautiful veil, which is like a lovely Persian
+tapestry. This court is a rectangle with unequal sides; there is a great
+arch in those looking towards the Hall of Ambassadors, somewhat
+pear-shaped, between two smaller arches of the same form; in the other
+two sides there is a large arch and a smaller one, all resting upon
+graceful columns of different colours, in the capitals of which
+(believed to belong to the primitive epoch, on account of their
+resemblance with those of the primitive part of the Mosque of Cordova)
+there is a freshness and delicacy of line which holds the imagination
+captive. The
+
+[Illustration: SEVILLE
+
+ALCAZAR--INTERIOR OF THE COURT OF THE VIRGINS, MOORISH STYLE, BUILT
+1369--1379.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--GENERAL VIEW OF THE COURT OF THE HUNDRED VIRGINS.]
+
+entablatures, which are borne by the columns, are finely decorated with
+vertical borders, formed by inscriptions in cufic characters. The upper
+part of this lovely court has been spoilt by bad restorations.
+
+The Hall of Ambassadors, as well as the Court of the Dolls, is
+surrounded by beautiful saloons, starting from the chief façade of the
+alcazar, running round the north-east angle of the building, and forming
+a series of mysterious and voluptuous rooms adjoining the galleries of
+the “Gardens” of the “Princes” of the “Grotto” and of the “Dance,” till
+they terminate at the other south-west corner of the Court of the
+Damsels where the chapel used to be, and where it is believed the
+luxurious apartments of the “caracol” stood. According to tradition they
+were at the eastern side of the Court of the Damsels where the lower
+chapel stands to-day; this space adjoins at its north-east corner the
+baths, which still bear the name of the unhappy favourite, more worthy
+of pity than of hatred; and they also lead, by a narrow and almost
+hidden staircase,--the oldest in the alcazar,--to the bedroom of Don
+Pedro, situated in the story above. Nothing remains of the dwelling
+which the enamoured king prepared for the woman he loved most in his
+distracted and changeful life.
+
+The entrance to the famous and regal baths of Doña Maria de Padilla is
+in the garden of the “Dance,” below the saloons constructed in the time
+of Charles V. It is supposed they were used by the sultanas, whilst the
+Saracen court was at Seville. They are surrounded by orange and lemon
+trees, and not enclosed by those massive walls which give the appearance
+of a gloomy dungeon. At the eastern extremity of the garden of the
+“Dance” there is a tank or fountain. It is said that one day the king,
+being much preoccupied with the choice of a judge to whom to confide a
+very complicated and obscure case, drew near this tank, and cutting an
+orange in two, threw one half on the surface of the water, where it
+floated. He then sent for one of his judges and asked him what he saw
+floating on the water. “An orange, Sire,” was the reply. He received the
+same answer from several other judges whom he summoned; but finally came
+one who, when asked the question, broke off a branch of one of the trees
+near by, and with it drew the fruit floating on the water to the edge,
+when he answered, “Half an orange, Sire.” Whereupon the monarch decided
+to entrust him with the conduct of the case.
+
+The strange character of Don Pedro, and his manner of administering
+justice, take us now to the upper floor of the alcazar, to the
+south-east corner, where, at the end of a series of saloons of little
+interest, with rich bowl-shaped ceilings and cornices of mosaic, there
+is the king’s sleeping chamber, whose walls still preserve the high
+socle of inlaid tile work, the stucco ornaments with borders of
+inscriptions in African characters, and the recessed windows with
+shutters, the frieze with stalactites, the ceiling of good design and
+beautiful gilding, and an alcove with a mosaic arch. Near one of the
+corners there is a bas-relief in one of the walls, representing a man
+seated with his body twisted towards the entrance door, and his head
+turned upwards, as though contemplating the skull which is to be seen
+above the facia of African characters. It appears that this horrible
+emblem was placed there by order of Don Pedro, in order to perpetuate
+the memory of his summary punishment of some deceitful judges.
+
+The Princes’ Hall and the Oratory are the only upper apartments, prior
+to the Renaissance, which are left for us to examine,--a fire in the
+year 1762 having destroyed many of the rooms of the upper story. But we
+must first
+
+[Illustration: SEVILLE
+
+ALCAZAR--COURT OF THE HUNDRED VIRGINS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--COURT OF THE VIRGINS.]
+
+take note of the external objects which surround us. Don Pedro’s bedroom
+looks on the south over the gardens; the Princes’ Hall looks north, and
+occupies the upper floor of the chief façade, whose elegant “ajimeces”
+illuminate it. The oratory is in the east wall. In the bedroom there is
+a balcony, which leads to a wide gallery, with other little balconies,
+with seats running round them, at the end of which there is a sort of
+turret, with three semi-circular arches, supported by pairs of marble
+columns, with capitals of the purest Arab style. The spacious gardens
+stretch at our feet, forming a delightful spectacle. From the Princes’
+Hall one can perceive, above the watch-towers of the alcazar, the
+innumerable perforated weather-cocks of the cathedral; and, towering
+over all, like a gigantic sentinel, the Giralda, crowned with the sacred
+sign of the conversion to the faith of Christ.
+
+In the Princes’ Hall and in the Oratory the influence of the pointed
+style of architecture is very noticeable; and yet in studying the arches
+of the Oratory and the little pillars, which surmount the columns in the
+centre, the influence of Moorish architecture on the Gothic or pointed
+architecture of the third period is most striking. The columns of the
+Princes’ Hall, and of the other adjoining apartments, are of marble,
+with very rich capitals. According to Jeronimo Zurita, these columns
+were in the royal palace of Valencia, and were removed after the defeat
+of Don Pedro, King of Aragon, by the King of Castile. There are
+luxurious divans all round the hall, and everything is rich except the
+ceiling, now destroyed, and the floor, which is poor and in very bad
+repair. The Oratory was built by order of the Catholic monarchs in 1504;
+its altar screen has a picture in the centre, representing the
+Visitation, with the signature, “Niculoso Francisco Italiano,” _me
+fecit_, which is notable for the mixture of the pure Italian school,
+and the realistic Dutch school in its design. The blue tile plaques of
+this oratory are purely Italian, and perhaps they are the most beautiful
+examples of this class of Christian ornamentation in Andalusia.
+
+Ford says that the Emperor, Charles V., married Doña Isabella of
+Portugal in this oratory, but the statement is not correct. Sandoval,
+better informed, describes the happy event in the following
+words:--“Eight days after the empress entered Seville, the emperor
+entered, being greeted with the same ceremonies. He went direct to the
+principal church, and from there passed to the alcazar, where the
+empress awaited him, accompanied by the Duchess of Medina-Sidonia, Doña
+Ana of Aragon, and the Marchioness of Cenete, wife of the Count of
+Nassau, and by other great ladies; the empress and her ladies being all
+most richly dressed. Afterwards the emperor arrived; they were married
+that same night by the Cardinal Legate, in the great room which is
+called the “half orange” (the Hall of Ambassadors), in the presence of
+all the prelates and grandees assembled there. The empress appeared to
+all present one of the most beautiful women in the world, as is
+testified to by those who saw her, and by her portraits. The hour of
+supper came, and the emperor and empress retired to their apartments;
+and after midnight, the emperor wishing it thus for religious reasons,
+an altar was erected in one of the apartments of the alcazar, and the
+Archbishop of Toledo, who had remained for the purpose, said mass
+there.”
+
+This marriage, as M. de Latour rightly says, was the last memorable page
+in the history of the alcazar; and the works completed by the emperor
+are the last notable improvements made in the monument. The architects,
+Louis and Gaspar de Vaga, were responsible for important works
+
+[Illustration: PLATE XXXIII.
+
+Borders of Arches.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--GALLERY IN THE COURT OF THE HUNDRED VIRGINS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--THE SULTANA’S APARTMENT AND COURT OF THE VIRGINS.]
+
+in the alcazar, the high gallery of the Court of the Damsels, and those
+looking south over the gardens and over the baths of Doña Maria de
+Padilla. New habitations were then erected, which shone with the art of
+the Renaissance, intertwined with the Arab adornments of the style
+called “plateresco.” But the emperor did not confine himself to
+restoring, re-building, and to erecting fresh works in the old alcazar;
+nor were the above-mentioned architects the only ones who worked, but he
+also enlarged and embellished the gardens, and in that which is called
+the “Lion Garden,” he had built by a certain Juan Hernandez, in the year
+1540, an elegant dining hall, of singular architecture--half Italian,
+half Moorish--which, without doubt, is a worthy dwelling place for a
+fairy princess of the days of chivalry. This supper hall, or pavilion,
+has a square plan, and measures ten steps in each frontage; a gallery of
+five arches surrounds it on each side, which rest on graceful pillars of
+the rarest marbles with capitals in the Moorish style. A frieze is seen,
+externally made of arabesques, forming ribbons, cutting each other at
+angles, and making stars; all the lower part is faced with blue tiles of
+Triana, with the outlines of the designs in bold relief. Inside there is
+another frieze in the “plateresque” style, cleverly perforated, and a
+socle of blue tiles with a border, in which shine the arms of Castile
+and the imperial eagles. In the centre rises a beautiful fountain with a
+white marble basin. A facia of blue tiles, in imitation of inlaid tile
+work, runs around, and between the work one can read the date of its
+construction and the abbreviated name of the artificer. The dome is of a
+decadent taste.
+
+The wall which encloses these gardens to the west is decorated in the
+style called “vignolesque,” with stout pilasters, and a frontispiece of
+two bodies above the pond in the garden of the “Dance,” and light
+arches which form a long “loggia” of beautiful effect.
+
+The works carried out under Philip III., and Philip V., and Ferdinand
+VI. are not worthy of close attention. They constructed the parts which
+face the gateway of the “banderas,” containing the “apeadero” and the
+“armeria.” The “apeadero” is a portico thirty-eight yards long and
+fifteen wide, with two rows of marble columns in pairs. The “armeria,”
+or armoury, is a spacious apartment above, destined for the object
+indicated by its name. The epoch of the construction of both is
+testified to by a stone set in the façade, which bears the following
+inscription: “Reigning in Spain Philip III., he erected this work in the
+year MDCVII.; Philip V. enlarged and repaired it, and destined it for
+the royal armoury in the year MDCCXXVIII.”
+
+Ferdinand VI. only constructed the offices above the baths of Doña Maria
+de Padilla, repairing the damage caused by the terrible earthquake of
+1755.
+
+The greater part of the halls on the upper story looking on the gardens
+perished in the dreadful fire of 1762; and the Government doubtless
+fearing the expense which would be incurred by a regular restoration in
+the original style, ordered all the roofs and ceilings destroyed by the
+fire to be repaired in the “modern manner.” The unhappy result of this
+order was to make the ceiling of many of the apartments much too low,
+and to scrape away many of the ancient arabesques from the walls. In the
+year 1805 the unhappy idea was conceived of changing the principal
+entrance, and of white-washing with hideous lime the magnificent stucco
+work in the Princes’ Hall, and of other ancient apartments. The
+unfortunate reformation even went so far as to substitute a plaster
+ceiling, which makes one shudder, for the beautiful Arab bowl-shaped
+one, and
+
+[Illustration: PLATE XXXIV.
+
+Border of Arches.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--ENTRANCE TO THE SLEEPING SALOON OF THE MOORISH KINGS.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--DORMITORY OF THE KINGS.]
+
+to put modern windows in the hall over the principal façade, called the
+Hall of the Princes, near the Court of the Dolls; and also to spoil the
+ceiling of the Hall of Ambassadors with heavy beams and supports, quite
+ruining the beauty of this enamelled half-orange. One is curious to know
+who it was who first tried to repair in a measure the harm done by these
+so-called “restorations.” In 1833 a rational restoration of the Court of
+the Dolls, and of the hall near it to the north, was begun with laudible
+zeal by the Don Joaquin Cortes, professor of painting, and the
+intelligent overseer, Antonio Raso, and the official, Manuel Cortes. The
+real work of restoration commenced about the year 1842, thanks to the
+praiseworthy efforts of Don Domingo de Alcega, administrator of the
+royal patrimony, and to those who helped him in his difficult task, the
+distinguished artist, Don Joaquin Dominguez Becquer, and the master
+artificer, José Gutierrez y Lopez. Señor Becquer designed the Arab
+cornice which to-day decorates the outer part of the edifice defining
+the dome of the Hall of Ambassadors, which had been half destroyed in
+1805, and he never ceased to devote his genius to the restoration, now
+in part and again general, of the most precious monument of Moorish art
+of the fourteenth century. During the years 1852 and 1853 the alcalde of
+the royal palaces completed the work of replacing some of the stucco
+ornaments in various apartments. Afterwards the vice-alcalde, Don Alonso
+Nuñez de Prado, assisted by Señor Becquer, brought a complete
+restoration to a successful end, which, though it may not be faultless
+in the eyes of a modern critic, is still worthy of praise, considering
+the period in which it was undertaken. In 1855 the administrator of the
+alcazar invited the Queen, Doña Isabella II., to interest herself in the
+works, with the result that he was able to cover the Court of the Dolls
+with glass, and to re-build the thirty-six arches of the Court of the
+Damsels.
+
+There is no inscription in the alcazar which offers a real historical or
+literary interest to the archæologist. One does not find here the
+fragments of poems on the walls which in the Alhambra rest the eye and
+speak to the intelligence in praising the heroic deeds of warriors and
+the beauties of the sumptuous habitations. In the alcazar one reads the
+Koran with its repeated salutations and some praises of Don Pedro, in
+which the praises of the Mohammedan sultans have been suppressed, also
+the word, Islamism; but we must draw attention to the fact that the
+greater number of the inscriptions are the same as those employed in the
+alcazar of Granada, repeated a thousand times, and it would be tedious
+and tiresome to accompany the artistic description with the same verse,
+repeated a hundred times, which is to be found in the different
+apartments, and interrupted a hundred times also by others put in at the
+time of the restorations. As the persons who were charged with the work
+of restoring the inscriptions did not know the ancient language, they
+very often placed the inscriptions upside down.
+
+On the façade, and over the principal entrance of the alcazar, around
+the twin windows, one reads the well-known verses: “Glory to our Lord
+the Sultan;” “Eternal Glory for Allah, the perpetual empire for Allah;”
+“Lasting happiness;” “Benediction;” “The kingdom of God, the power of
+God, glory to God;” “Happiness and peace, and the glory and generosity
+of perpetual felicity;” “In prosperous fortune this palace is the only
+one.” The inscription, “There is no conqueror but God,” placed above and
+below the wide frieze of painted porcelain, in cufic characters, in our
+opinion, must be the work of an artist from Granada.
+
+[Illustration: SEVILLE
+
+ALCAZAR--THE DORMITORY.]
+
+[Illustration: SEVILLE
+
+ALCAZAR.
+
+FRONT OF THE SLEEPING SALOON OF THE MOORISH KINGS.]
+
+[Illustration: ALCAZAR.
+
+SLEEPING SALOON OF THE MOORISH KINGS.]
+
+Then comes the vestibule, where one sees almost the same inscriptions.
+The African characters are changed into cufic, or neskis. These are what
+are in the frieze:
+
+“Happiness and prosperity are the benefits of God;” and after: “Glory to
+our Lord the Sultan Don Pedro, may his victories be magnificent.”
+
+In the Court of the Damsels we find very much the same thing: “Praise to
+God, on account of His benefits.”
+
+It must be remarked that, in all the inscriptions mentioned above, the
+word “Islamism” has been suppressed, which proves that the artists were
+the same Arabs who, under the Christian dominion, took advantage of the
+traditional formulas in effacing the religious part of the verse.
+
+On a frieze of the same court:
+
+“Glory to our Sultan Don Pedro, may God lend him His aid and make him
+victorious,” &c., &c.
+
+Then follow a number of inscriptions of no importance, where one sees
+repeated: “Happiness, Praise, Grandeur; God is Unique, the Fulfilment of
+Hopes;” and this one, more worthy of notice, “God is Unique, He does not
+Beget, He was not Begotten, He has no Companion.” This inscription is
+also found at Granada on the Charcoal Gateway, in cufic characters, and
+it proves that it could not have been constructed under the Christian
+dominion, because it is completely contrary to the religion of Christ;
+and, consequently, that Don Pedro profited by the work of Yusuf as much
+as was possible. Amador do los Rios, the well-known _savant_, supposes
+that artists were brought from Toledo to construct this alcazar; but
+this is not exact, they only did the repairs and restorations.
+
+On one of the doors, which like all the rest in this edifice has
+undergone many restorations, the most interesting legend is found: “The
+Sultan our Lord, the exalted, noble Don Pedro, King of Castile and of
+Leon--may God perpetuate his happiness--ordered Jalabi, his architect,
+to make the doors of worked wood for this magnificent portal of
+happiness; he ordered this in honour of the Ambassadors. Joy broke out
+for their construction and dazzling embellishment. The chiselings are
+the work of artists from Toledo, and it was done in the year of grace
+1404.
+
+“Similar to the twilight of the evening, and very similar to the light
+at dawn of day, this work is dazzling on account of its brilliant
+colours and the intensity of its splendours, from which abundance of
+felicity flows for the happy town where the palaces were built, and
+these habitations, which are for our Lord and Master, the only one who
+communicates life to his splendour, the pious Sultan, who is also
+severe, had it built in the town of Seville, with the aid of his
+intercessor, in honour of God.”
+
+One sees the same inscriptions repeated in the Hall of Ambassadors, and
+in the room to the left one reads:
+
+“Oh! entrance to the habitation newly dazzling and noble, Lord of
+protection, of magnificence, and of virtues.”
+
+In the Court of the Dolls, and round the entrance arch, one reads:
+
+“There is no protection if it is not Allah, in whom I trust, for I shall
+return to him.” “All that thou dost possess comes from God,” &c., &c.
+And in the same court (cufic): “Oh! incomparable Master, issue of a
+royal race, protect it.” “Praise God for His benefits.” “God, my
+Master.”
+
+In the sleeping apartment, called that of the Moorish kings, amongst
+other known inscriptions this one is found: “Oh! illustrious new
+dwelling, thy splendid happiness has progressively increased on account
+of the lasting brilliancy
+
+[Illustration: PLATE XXXV.
+
+Ornament in Panels on the Wall.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--ROOM OF THE INFANTA.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--COLUMNS WHERE DON FADRIQUE WAS MURDERED.]
+
+[Illustration: PLATE XXXVI.
+
+Bands, Side of Arches.]
+
+of the greatest beauty. Thou wert chosen for the place where the feasts
+should be celebrated. He is the support and the rule for all good,
+source of benefits, and food of courage! For thee....”
+
+We left the story of Seville somewhat abruptly to deal in detail with
+the alcazar. Under Almohade rule, and while the alcazar and the mosque
+were in course of construction, the city knew peace, and its commerce
+flourished. But the days of its security were limited; the end of the
+Moslem domination in Seville was drawing to its close. The revived
+prosperity of the Mohammedans spurred the Christian Spaniards to renewed
+efforts to encompass the overthrow of the infidels. Pope Innocent III.
+declared a crusade, and numbers of adventurous French and English
+free-lances travelled to Spain in answer to the call. But in 1195 the
+Christians were defeated at Alarcos, near Badajoz, and again the
+ambitious projects of San Fernando were temporarily frustrated. In 1212
+the Almohade army, it is said to the number of 600,000 men, was almost
+destroyed on the disastrous field of Las Navas, and the work of the
+expulsion of the Moors from Spain was begun. City after city was
+captured by the soldiers of Fernando III., Cordova fell in 1235, and the
+conqueror, with the help of the King of Granada, who had sworn
+allegiance to the Christian monarch, marched against Seville.
+
+The army brought by the holy king to Seville was the most brilliant and
+numerous ever seen in Christian or Mohammedan Spain. No smaller force
+would have been sufficient for the taking of a city which contained
+12,000 Mussulman families divided into twenty-four tribes, and which had
+been in the hands of the followers of Islam for more than five
+centuries. In the spring of the year 1235 the army was moved from
+Cordova and divided into two parts, one under the command of the Prince
+of Molina and the Master of Santiago, which was to march to the Ajarafe;
+and the other under the direction of the King of Granada and the Master
+of Calatrava, which was to harass the country near Jerez. The attack on
+Seville and its territories commenced immediately, and a series of
+uninterrupted victories prefaced the happy termination which was to
+crown the constant and generous efforts of the Christian warriors.
+
+Seville, at this period the court and seat of the Islamite empire, was a
+city calculated to defy the strategy of the most skilful generals, the
+valour of the most devoted men at arms. In form it would resemble a
+shield, stretching from north-east to south-west. Its head and right
+side were formed by the walls with its towers, defended by a barbican
+and a moat, with eight gates and a narrow side entrance. These gates
+were veritable fortresses. They were defended by towers and bastions.
+Their exits were narrow, and never in front; the exterior passages to
+the city had angles and turnings, and very often the first turning
+opened into a square armed place, with narrow doorways at both sides.
+“The gates of Seville,” says Morgado, “were constructed of planks of
+iron, fastened on to strong hides with steel bolts. And because it was
+best defended on its west side by the river Guadalquivir, which
+protected more than half the city, with the six gates in that side, it
+was thought well to place the strongest walls and the best fortified
+towers, with as many barbicans, and the widest and deepest moats on the
+other side.”
+
+The left side of the shield boasted the majestic curve of the river, the
+arsenal, and another series of walls and gates; but at this part, there
+were no moats nor false entrances, because it had the strong towers of
+the Ajarafe opposite to defend it. There were four gates on this side,
+not counting
+
+[Illustration: SEVILLE
+
+ALCAZAR.
+
+GATE OF THE HALL OF SAN FERNANDO.]
+
+[Illustration: ALCAZAR.
+
+GALLERY OF THE HALL OF SAN FERNANDO.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--HALL IN WHICH KING SAN FERNANDO DIED.]
+
+[Illustration: PLATE XXXVII.
+
+Bands. Side of Arches.]
+
+that of Bib-Ragel, which occupied the north angle of the city; and, in
+addition to these, it is believed there was a small postern, afterwards
+called the “atarazanas,” through which it is supposed that Axataf, or
+“Sakkáf” his Moorish name, went out to receive King Ferdinand, and to
+deliver up the keys of Seville. The old wharf of Saracen Seville came as
+far as this; and in all the space, which to-day is called El Barrio de
+los Humeros, or the Chimney Quarter, the Mohammedans had their arsenal
+and shipbuilding yard, while the sailors and fishermen of the
+Guadalquivir were also housed in this district. The Gate of the Triana
+must have been in the vicinity; and the Gate of Hercules was directly
+opposite the Ajarafe, which was also called the Garden of Hercules. With
+the gardens and orchards of the Macarena, which adorned it to the north,
+the plains and woods of Tablada, which supplied it with corn and wood to
+the east and south, with an abundant supply of fresh water brought from
+Carmona by the aqueduct, with the river which was its principal
+commercial artery to the west, with the castles on the opposite side of
+the Guadalquivir, protecting the river and its bridge, and occupying all
+the heights from Azalfarache nearly as far as Italica, Seville was one
+of the best situated, best supplied, best defended, and most prosperous
+cities of the Mussulman empire in Andalusia. To attack her she must be
+cut off from the Ajarafe, and her bridge of boats must be taken. It
+would have been useless to descend to Italica and be exposed to the
+assaults of the city and of Triana, as long as the bridge existed, and
+this task was thought to be beyond the power and ingenuity of any enemy.
+
+The bridge of boats, protected by a great wooden chain, linked by iron
+rings, kept the communication open between the city and the Ajarafe,
+that vast and fertile district from which the Sevillians received all
+sorts of supplies, and where the Saracen magnates had their country
+villas. This delightful Garden of Hercules, in whose praise many Arab
+writers have exhausted the treasure of their rich and exalted
+imagination, has been described in the following manner by an anonymous
+poet, in some verses dedicated to the Abbadite Sultan Almutamed:
+“Seville is a young widow, her husband is Abbad, her diadem the
+Aljarafe, her collar the winding river.” Indeed, says the poet Ibn
+Saffar, “the Aljarafe surpasses in beauty and fertility all the lands of
+the world, the oil of its olives goes even to far Alexandria, its farms
+and orchards are superior to those of other countries on account of
+their extension and convenience; and, always white and pure, they seem
+to be so many stars in a sky of olive gardens.” Travelled Arab
+historians recall with pleasure the delights of Andalus; preferring
+Seville to either Baghdad or Cairo, saying: “The Aljarafe is a luxuriant
+wilderness without wild beasts, and its Guadalquivir is a Nile without
+crocodiles.” One of the authors, quoted by El-Makkari, gives the
+following exact description of the Aljarafe: “It is an immense district,
+measuring forty miles long, and almost as many broad, formed of pleasing
+hills of reddish earth, on which there are woods of olive and fig-trees,
+which offer a delicious shade to the traveller in the hours of the
+mid-day heat. This district contains a numerous population, scattered in
+beautiful farms or collected in villages, none of which are wanting for
+markets, clean baths, fine buildings, and other conveniences, such as
+are usually only to be found in cities of the first order.”
+
+This fertile territory, which the Saracens called the “Orchard of
+Hercules,” rose gradually to the west of Seville, after stretching along
+the right bank of the river.
+
+[Illustration: SEVILLE
+
+ALCAZAR--ROOM OF THE PRINCE.]
+
+[Illustration: SEVILLE
+
+ALCAZAR--VIEW OF THE GALLERY FROM THE SECOND FLOOR.]
+
+Its heights were covered with farmhouses and hamlets, as the Arab writer
+indicates, which formed, as it were, a continuous population, rich in
+provisions, from which Seville usually received abundant supplies of all
+necessaries. There were four principal villages: Aznalfarche (to-day,
+San Juan de Alfarache), Aznalcazar, Aznalcollar, and Solucar de Albayda,
+strong walled places, where the Mohammedans collected the revenues of
+the district. The fringe, formed by the heights of the Aljarafe, was
+given the name of “Mountain of Mercies” (Jebl arrahmah) by the
+Mohammedans, on account of its extraordinary fertility, a surprising
+abundance of figs, known as “Al-kuiti” and “Ash-shari,” being produced
+there.
+
+The Sevillians faced the Christian attack with boldness, bred of
+confidence, and a determination to strain every nerve, and exhaust every
+resource, in repelling the invaders. They were engaging upon their last
+throw for the sovereignty of Andalusia. Fernando’s warships encountered
+the Moorish fleet at the mouth of the Guadalquivir, and drove them from
+their position, and the infidels collected their forces to make a last
+stand on land. But their stubborn front was broken by the Christian
+host, and the war-worn remnant of the Moorish army prepared to withstand
+a siege. Even when the bridge of boats was destroyed, and all
+communications with the suburb of Triana and the surrounding country was
+cut off, the Moors still fought on within the city walls, and it was not
+until fifteen months had elapsed that Seville was starved into
+submission. On the 23rd February, 1235, Fernando entered the city, and
+Abdul Hassan, rejecting the king’s invitation to become a dependent
+officer of the Spanish Crown, retired with thousands of his vanquished
+Almohades to Africa.
+
+Fernando’s first act was to have the mosque purified for the
+celebration of a high and imposing Mass; he took up his quarters in the
+alcazar; divided the Moorish possessions among his knights, and rested
+his army after their long and arduous campaign. Four years later he died
+of dropsy. He was succeeded by Alfonso X., who founded the University of
+Seville, devoted his leisure to the study of poetry, history, and
+ancient laws, and merited the title of “El Sabio,” “the Learned.” But
+although the beautiful alcazar appealed to the studious temperament of
+“El Sabio,” the fortress-palace is more closely associated with his son,
+Pedro I., Pedro, “the Cruel,” the most renowned of all the Christian
+sovereigns who ruled Andalusia from Seville.
+
+Pedro’s character has been made the study of many biographers and
+historians, and he has not been without his literary whitewashers, but
+the “incidents” which illuminate his career do not place him in a
+favourable light. His Bohemianism endeared him to the people, and a
+certain sense of justice, in cases in which his own interests were not
+concerned, has gained for him the title of “The Justiciary.” It may be
+that the plottings of Albuquerque, his father’s chancellor, and the
+perfidious behaviour of his relatives, including his own mother, served
+to warp and embitter his nature; but he had no sooner, at the
+instigation of his mistress, Maria de Padilla, taken up the reigns of
+government, than he revealed the cruelty and malignity of his character.
+Leonora de Guzmar, the mother of Alfonso’s illegitimate son, Enrique,
+was done to death in his prisons; Abu Said, the King of Granada, was
+seized by treachery, robbed, and executed; Urraca Osorio, for refusing
+Pedro’s addresses, was burned to death in the market-square of Seville;
+his wife, Blanche of Bourbon, was mysteriously murdered; Don Fadrique,
+his half-brother, was assassinated with Pedro’s dagger; and he himself
+was eventually defeated
+
+[Illustration: SEVILLE
+
+TOWER OF THE GIRALDA.]
+
+[Illustration: SEVILLE
+
+DETAILS OF THE GIRALDA TOWER.]
+
+in battle by the troops of his brother Henry and Bertrand du Guesclin,
+and killed in single combat by Henry.
+
+Pedro wearied of his first wife, Blanche of Bourbon, in forty-eight
+hours; and, having had his marriage annulled, he espoused the handsome
+Juaña de Castro, only to desert her a few days later to return to his
+beautiful mistress, Maria de Padilla. This woman appears to have been
+the only person who inspired Pedro with more than a transitory passion,
+and the courtiers testified to the power she wielded by chivalrously
+drinking the waters of her bath in El Jardin del Crucero. But Pedro’s
+passion for his mistress, though lasting, was not monopolising, and his
+amours supply us with an incident which reveals at once the king’s
+ferocity, his humour, and his alleged respect for justice. It was his
+custom at night to muffle himself in a cloak and adventure alone into
+the city in quest of entertainment. On one of these excursions he
+encountered a hidalgo serenading a lady, whose favours he himself
+coveted. Cloaked by the dim light, and made secure by the emptiness of
+the street, the king fought and slew his rival, in defiance of his own
+order, which made street fighting punishable upon the officers of the
+city when they failed to bring the disturbers of the peace to justice.
+He had not bargained for the noise to disturb the rest of an old lady in
+the vicinity; he had not observed a venerable head protruding through an
+upper window. Believing the incident to be “wrapped in mystery,” he
+summoned the alcade of the city to his presence, acquainted him with the
+fact that the body of a hidalgo, pierced to the heart, had been found in
+the street, and gave him the option of discovering the murderer within
+forty-eight hours, or of being hanged in his stead. And hanged he
+doubtless would have been but for the timely confidence of the old lady
+who had witnessed the fight. The alcade came again to the king with the
+news that the murderer had been found, and would be on view upon the
+gallows within the time specified by Pedro. Curious to see who had been
+secured to expiate his sin, or eager to fasten a new dereliction of duty
+upon the alcade, the king went to the place of execution and found,
+suspended from the gallows, an effigy of himself. “Good,” said the king,
+“justice has been done! I am satisfied.” There is a street in Seville
+which is called the Calle della Cabeza del Rey Don Pedro, to commemorate
+the duel; and the alley from which the old lady observed the issue is
+known as the Calle del Candilejo, “the street of the candlestick.”
+
+The alcazar extends along the river as far as the Golden Tower, built
+during the reign of Yusuf Almotacid Ben Nasir, by the Almohadan governor
+Abulala. The view of Seville, from the Christina promenade, the famous
+thoroughfare, which extends from the palace of the Duke of Montpensier
+to the Golden Tower, is a spectacle of which the Sevillians never tire,
+and visitors are never weary of praising. The tower itself, which took
+its present name either from the fact that it held the gold which the
+Spanish ships brought from America, or because Don Pedro secreted his
+treasures there, is octagonal in shape, with three receding floors,
+crowned with battlements, and washed by the Guadalquivir. The shimmering
+Torre del Oro, reflecting its light upon the broad bosom of the
+rose-coloured river beneath the setting sun, has inspired poets and
+painters of every age and nationality. George Borrow believes it
+probable that it derived its name from the fact that the beams of the
+setting sun focussed upon it makes it appear to be built of pure gold;
+and then, carried away by the loveliness of the picture, he cries:
+“Cold, cold must the heart be which can remain insensible to the
+beauties of this magic
+
+[Illustration: PLATE XXXVIII.
+
+Ornaments on Panels.]
+
+[Illustration: SEVILLE
+
+COURT OF THE HOUSE OF PILATOS.]
+
+[Illustration: SEVILLE
+
+COURT OF THE HOUSE OF PILATOS.]
+
+scene, to do justice to which the pencil of Claude himself were barely
+equal. Often have I shed tears of rapture whilst I beheld it, and
+listened to the thrush and the nightingale piping forth their melodious
+songs in the woods, and inhaled the breeze laden with the perfume of the
+thousand orange gardens of Seville.”
+
+Of the great mosque of Seville, which was built by Abu Yakub Yusuf in
+1171, and completed by the addition of the tower in 1196 by his son,
+only the barest traces now remain. It is impossible to determine who
+really designed the famous Tower, now called the Giralda; but historians
+favour the claims of the renowned architect, whose name is variously
+spelt Gever, Hever, or Djabir, and who is erroneously supposed to have
+been the inventor of algebra. In its original state this structure was
+an immense and stately pile, planned on the model of the mosque of
+Cordova, and decorated with lavish magnificence. In 1235 it was
+dedicated to the service of God and the Virgin, but it retained all its
+Moorish characteristics until 1401. The Moors would have destroyed the
+building and the beautiful Muezzin tower before it fell into the hands
+of San Fernando’s soldiers, and thus save their sacred temple from
+desecration by the “infidels,” but the king’s son, Alonso “el Sabio,”
+threatened to visit such spoliation upon the garrison by sacking the
+city. This threat had the desired effect, and for nearly two centuries
+the religious spirit of Seville found expression in a temple which had
+been built to the glory of Allah. But at the beginning of the fifteenth
+century the mosque was razed to the ground, and Seville cathedral began
+to take that huge and splendid form which, in the words of the pious
+originators, was to inspire succeeding generations with the idea that
+its designers were mad. It was to be the greatest cathedral in Spain,
+and it ended in being second only to that of Cordova, but still the
+third largest Christian church in the world. Its area of 125,000 square
+feet is 35,000 square feet less than Cordova cathedral, and 105,000
+square feet less than St. Peter’s at Rome; but it is 15,000 square feet
+greater than that of Milan Cathedral, and greater by 41,000 square feet
+than St. Paul’s in London.
+
+The Moors, in building their mosque, employed the remains of ruined
+Roman and Gothic structures, and the Spaniards in 1401 used the Arab
+foundations in the construction of their cathedral, while the Moorish
+tower was preserved to do duty as a spire. In its original form the
+Giralda was only 250 feet high, the additional 100 feet which forms the
+belfry being added by Fernando Ruiz in 1567. In 1506 the cathedral was
+completed. Five years later the dome collapsed, and was re-erected by
+Juan Gil de Hontanon. Extensive restoration work was carried out in
+1882, under the superintendence of Cassova; but six years after this
+work was completed, the dome again gave way, and workmen have been
+constantly employed ever since in reconstructing this part of the vast
+building.
+
+According to Contreras, the Giralda is the most expressive monument of
+the Mohammedan dominion; and, despite all that has been said of its
+Moorish structure and primitive African style, it is in his opinion a
+perfect work of Arab art. The construction is anterior by four
+centuries, at least, to that of any tower of Granadian architecture such
+as that which to-day belongs to the Church of St. John of the Kings, but
+there is not the slightest difference in the manner of their
+ornamentation, and the rhomboids of painted bricks, the festoons of
+terra cotta, the windows with double arches, following the segments of a
+circle, present all the variety of the alcazar of Granada.
+
+[Illustration: PLATE XXXIX.
+
+Ornaments on Panels.]
+
+[Illustration: SEVILLE
+
+HOUSE OF PILATOS--VIEW IN THE COURT BY THE DOOR OF THE CHAPEL.]
+
+[Illustration: SEVILLE
+
+HOUSE OF PILATOS--CHAPEL.]
+
+“Here one sees plainly,” Contreras says, “the origin of the superposed
+arch of the belvedere of Lindaraja of the Alhambra, of the hanging arch
+of the three entrances of the Lions’ Court, of the festoons of the Court
+of the Fountain, and of all those forms, so delicate and so luxurious,
+that they are without equal in architecture. It is in the Giralda that
+one finds the beginning of truly decorative art. Built of varnished
+bricks, with a stout construction, as is demanded by the façade of a
+very high tower, it is to be regretted that such a beautiful edifice
+should be crowned by so strange a body as its gilded frontages and
+painted porcelains.”
+
+With the exception of the Giralda, and part of the lower portions of the
+walls, the Moorish remains that are to be recognised in the cathedral
+are few and not remarkable. The Puerta del Perdon in the Calle de
+Alemanes was reconstructed by Alfonso XI., after the victory of Salado,
+and the plateresque ornamentations were added by Bartolome Lopez about
+1522. But although the bronze-covered doors have been disfigured by
+paint, their Moorish character is still distinctly traceable. Through
+the gateway we enter the old Moorish courtyard, the Patio de los
+Naranjas (Court of Oranges), robbed of its former grandeur, but still
+distinguished by its beautiful Arabic fountain, with an octagonal basin,
+which occupies the centre of the court. From this spot we get a splendid
+view of the cathedral and the massive yet delicate Giralda tower, which
+has been declared to be even more to Seville than Giotto’s Campanile is
+to Florence, or that of St. Mark’s to Venice. “Long before the traveller
+reaches the city,” writes an imaginative admirer, “the Giralda seems to
+beckon him onwards to his promised land; during all his peregrinations
+through the intricate streets and lanes it is his trusted guide, always
+ready to serve him, soaring as it does far above all surroundings, it is
+a thing of unfailing beauty and interest as day by day he passes and
+repasses it, or wanders about its precincts; it tells him even afar off,
+how the day moves on, and how the night; and it dwells in his thoughts
+the fairest memory of his sojournings in the queen of the Southern
+cities.”
+
+From the Court of Oranges to the Giralda the way leads through the
+Capilla de la Granada of the cathedral. A solitary horseshoe arch
+reminds us of the Moorish origin of the building; and the huge
+elephant’s tusk suspended from the roof, a bridle that tradition
+declares belonged to the Cid’s steed, and a stuffed crocodile, are
+Oriental rather than Christian relics. And the Giralda, in spite of its
+added belfry--its surmounting figure symbolic of the Christian
+faith--and the fact that it is under the special patronage of the two
+Santas Justa and Rufina, “who are much revered at Seville,” is still a
+Moorish monument. At its base the tower is a square of fifty feet, and
+it rises by a series of stages, or cuerpos, which are named after the
+architecture, decoration or use for which they are designed. At the
+Cuerpo de Campanas is hung a peal of bells, of which the largest, Santa
+Maria, eighteen tons in weight, and referred to in the vernacular as
+“the plump,” was set up in 1588 by the order of the Archbishop Don
+Gonzola de Mena, at a cost of ten thousand ducats. Above, we come to the
+cuerpo of the Azucenas, or white lilies, with which it is embellished;
+and, going still higher, we reach El Cuerpo del Reloj, the clock-tower,
+in which was erected, in 1400, the first tower-clock ever made in Spain.
+Portions of this old timepiece were employed by the Monk Jose Cordero in
+making, in 1765, the clock which is working to this day. The belfry,
+which is the home of a colony of pigeons and hawks, is girdled with a
+motto from the proverb, “Nomen Domini fortissima turris”--(“The name of
+the Lord is a strong tower.”) The
+
+[Illustration: SEVILLE
+
+GALLERY OF THE HOUSE OF PILATOS.]
+
+[Illustration: SEVILLE
+
+GALLERY OF THE COURT OF THE HOUSE OF PILATOS.]
+
+[Illustration: PLATE XL.
+
+Ornaments on Panels.]
+
+Moorish summit was crowned with four brazen balls, so large that in
+order to get them into the building it was necessary to remove the
+keystone of a door called the Gate of the Muezzin, leading from the
+mosque to the interior of the tower. The iron bar, which supported the
+balls, weighed about ten cwt., and the whole was cast by a celebrated
+alchemist, a Sicilian, named Abu Leyth, at a cost of £50,000 sterling.
+These particulars were set down by a Mohammedan writer of the period,
+and their accuracy was proved in 1395 (157 years after the overthrow of
+the Arab dominion), when the earthquake threw the entire mechanism,
+balls and supports, to the ground, where they were weighed, and the
+figures were found to be absolutely correct. The figure of La Fé, “The
+Faith,” which now tops the Giralda, was cast by Bartolomé Morel in 1568.
+It stands fourteen feet high, and weighs twenty-five cwts., yet so
+wonderful is the workmanship that it turns with every breath of the
+wind. The head of the female figure is crowned with a Roman helmet, the
+right hand bears the Labaro, or banner, of Constantine, and in the left
+it holds out a palm branch, symbolical of conquest.
+
+But when we return from this “strange composite fane,” with its
+Christian summit surmounting a Moslem tower, which again has its
+foundations in a Roman temple, when we re-cross the Court of Oranges,
+with its Moorish fountain, flanked by a Christian pulpit, and enter the
+cathedral, the mind is transported at a bound from the fairy-like
+beauties of Morisco ornamentation to the sombre, awe-inspiring majesty,
+which prompted Theophile Gautier to the reflection that “the most
+extravagant and monstrously prodigious Hindoo pagodas are not to be
+mentioned in the same century as the Cathedral of Seville. It is a
+mountain scooped out, a valley turned topsy-turvy; Notre Dame, at
+Paris, might walk erect in the middle nave, which is of frightful
+height; pillars as large round as towers, and which appear so slender
+that they make you shudder, rise out of the ground, or descend from the
+vaulted roof, like stalactites in a giant’s grotto.” Lomas, who finds
+the exterior of the cathedral “simply beneath criticism,” and deplores
+that “age after age a great band of glorifiers of self, through self’s
+handiwork, should have been employed in producing what they determined
+should be a world’s marvel,” is compelled to admit that “the first view
+of the interior is one of the supreme moments of a lifetime. The glory
+and majesty of it are almost terrible. No other building, surely, is so
+fortunate as this in what may be called its presence.” Even George
+Borrow, who thought more of his beloved testaments than of Spanish
+monuments erected to “the spiritual tyranny of the Court of Rome,” was
+feign to declare that it is impossible to wander through the cathedral
+of Seville “without experiencing sensations of sacred awe and deep
+astonishment”; and Caveda describes the general effect as “truly
+majestic.”
+
+The Italian rhapsodist, Edmondo de Amicis, who always succeeds in
+conveying a strikingly convincing impression of the spectacles that
+fascinate his sensitive mind, is at his best in his description of
+Seville cathedral. “At your first entrance,” he says, “you are
+bewildered, you feel as if you are wandering in an abyss, and for
+several moments you do nothing but glance around you in that immense
+space, almost as if to assure yourself that your eyes are not deceiving
+you, nor your fancy playing you some trick. Then you approach one of the
+pillars, measure it, and look at the more distant ones, which, though as
+large as towers, appear so slender that it makes you tremble to think
+that the building is resting upon them. You traverse them with
+
+[Illustration: PLATE XLI.
+
+Ornaments on Panels.]
+
+[Illustration: SEVILLE
+
+COURT OF THE PALACE OF MEDINA-CŒLI.]
+
+a glance from floor to ceiling, and it seems as if you could almost
+count the moments it would take for the eye to climb them. There are
+five aisles, each one of which might form a church. In the centre one,
+another cathedral, with its cupola and bell tower, could easily stand.
+All of them together form sixty-eight bold vaulted ceilings, which seem
+to expand and rise slowly as you look at them. Every thing is enormous
+in this cathedral. The principal chapel, placed in the centre of the
+great nave, and almost high enough to touch the ceiling, looks like a
+chapel built for giant priests, to whose knees the ordinary altars would
+not reach. The paschal candle seems like the mast of a ship, and the
+bronze candlestick which holds it, like the pillars of a church. The
+choir is a museum of sculpture and chiselling. The chapels are worthy of
+the church, for they contain the masterpieces of sixty-seven sculptors
+and thirty-eight painters.... The chapel of San Ferdinand, which
+contains the sepulchres of this king and his wife Beatrice, of Alonso
+the Wise, the celebrated minister, Florida Blanca, and other illustrious
+personages, is one of the richest and most beautiful of all. The body of
+Ferdinand, who redeemed Seville from the dominion of the Arabs, clothed
+in his uniform, with crown and mantle, rests in a crystal casket,
+covered with a veil. On one side, is his sword which he carried on the
+day of his entrance into Seville; on the other, a staff of cane, an
+emblem of command. In that same chapel is preserved a little ivory
+Virgin, which the holy king carried to war with him, and other relics of
+great value.” And here also, although De Amicis makes no mention of
+them, are the keys of Seville which Abdul Hassan handed to Ferdinand at
+the surrender of the city. One key is of silver, and bears the
+inscription, “May Allah grant that Islam may rule for ever in this
+city.” The other key is made of iron gilt, and is of Mudejar
+workmanship. It is inscribed, “The King of Kings will open; the King of
+the Earth will enter.”
+
+In its churches and its old houses, Seville is rich in Moorish
+influences, and exhibits abundant traces of Morisco art, which prevailed
+against the material dominancy of the Christian conquerors. The
+reconciled Arabs who remained as subjects of Ferdinand became the chief
+of the most lavishly-remunerated artisans of the city. They pursued
+their craft in the dwellings of the rich; and in the churches of the
+“infidel.” Untrammelled by religion and uninspired by faith, they worked
+for art’s sake, and the substantial pecuniary award that sweetened their
+labours. The church of San Marco has a beautiful Moorish tower built in
+imitation of the Giralda, and second only to the minaret tower of the
+cathedral in point of height; San Gil is a Christianised Mezquita; Santa
+Catalina reveals the survival of Moorish art in its façade, while its
+principal chapel is Gothic. In nearly all the sacred edifices of
+antiquity the combination of Moorish and Renaissance architecture
+betrays an incongruity of style and sentiment which is only to be found
+among the Christian churches of Spain. And if the Catholic kings, who
+were sworn to the extirpation of the Moslems, allowed the Moors to build
+their churches in the style of temples devoted to Allah, it is not
+surprising that many of the finest private residences of the city retain
+a Moorish design, and possess a distinctly Oriental atmosphere.
+
+The Casa de Pilatos, which has been pronounced the fourth great monument
+of older Seville, was commenced in 1500 by Don Pedro Enriquez, in the
+then popular decadent Saracenic style, and was completed by his son,
+Fadrique, in imitation of Pilate’s palace at Jerusalem. In accordance
+with this scheme, he fashioned a reception-hall, called the
+
+[Illustration: PLATE XLII.
+
+Frieze in the Upper Chamber, House of Sanchez.]
+
+Prætorium, erected an upright column--a gift of Pope Pius V.--copied
+from the pillar at which Christ was scourged, and made a replica of the
+basin into which the thirty pieces of silver were counted. When the
+house came into the possession of the first Duke of Alcalá, he was
+acting as the Spanish viceroy at Naples, and he filled the rooms and
+corridors with Roman busts and statuary, gathered from Italy and the
+ruins of Italica. On every side the art treasures of the Romans adorn
+the perfect Moorish colonnades, and the shadows of Roman sculptures are
+thrown upon diapered marble pavements from light that enters through
+Arab lattices and ajimez windows. It has been described as a great
+curiosity shop, but to the art lover it is a treasure house of almost
+infinite beauty and variety.
+
+The Moorish palace of the Duke de Alba, in the Calle de las Dueñas, once
+consisted of eleven courtyards, nine fountains, and more than a hundred
+marble pillars, and was surrounded by a garden, which is a forest of
+orange trees and myrtles. In Seville one wanders through streets which
+are redolent of Arabia, and peep into countless Oriental patios, cool
+with fountains, and shaded by palms and Eastern canopies. One “feels the
+East a-calling”--the colour, the scent, the witchery of it gets into
+one’s blood--and one recognises the truth that inspired the old Spanish
+saying: “To whom God loves He gives a house in Seville.”
+
+
+
+
+TOLEDO
+
+
+Toledan history proper, as distinguished from the mixture of fable and
+tradition which are associated with the story of this ancient and royal
+city, dates from the invasion of the Goths. Toledo was old when Euric
+successfully scaled its seven rocks and stormed its battlements--how
+old, cannot be determined. Legend claims that the town was in existence
+when God made the sun; less exalted imagination dates its foundation no
+further back than the days of Tubal, the grandson of Noah. Alphonsus,
+“the Learned,” and Diego Mossem Valera, the historian of Isabel the
+Catholic, agree that it was built by Pyrrhus, the son-in-law of King
+Hispan, and a captain of the army of Cyrus. Hercules has been claimed as
+the father of Toledo by Rufo Festo Avieno, and Ferecio, one of the
+companions of Ulysses, is held by some to have retreated to this spot to
+escape the blood-vengeance of that little band of Greek adventurers.
+Other legends declare the city to be of Jewish origin; and its builders,
+the Judians, who fled from Jerusalem before the victorious hosts of
+Nebuchadnezzar. Don Rodrigo Jimenez de Rada discovers the founders of
+Toledo in Tolemon and Brutus, two Roman consuls in the reign of Ptolemy
+Evergetes, and more reasonable supposition favours the theory that it
+was first settled by nomadic Celtic shepherds, who forsook their flocks
+to erect walls and fortifications on the rocky eminence above the Tagus.
+The little that is known of the origin and beginning of Toledo; the
+very mystery and obscurity of its earliest days, is accepted by the old
+historian, Alcocer, as a proof of its antiquity and nobility. Rais, the
+Moorish writer, says that Tago, at Toledo, was one of the eleven
+governors of Carpetania. Tago was foully murdered by Hasdrubal, the
+successor of Hamilcar, and the assassination of Hasdrubal was followed
+by so determined an insurrection that even Hannibal was forced to
+retreat before the infuriated Carpetanians. But Hannibal retreated, only
+to return with a reinforced army, and break Carpetania beneath the might
+of Carthagenian rule. In 191 B.C., after the fall of Carthage, Hilermo
+surrendered Toledo to the Roman forces, under Marcus Fulvius Nobilior.
+But Toledo held itself sullenly and haughtily aloof from the affairs of
+Rome. Viriate and Caius Plancius might cut each other’s throats on the
+banks of the Tagus; Sertorius might nurse his hates within the city;
+Cæsar and Pompey might be locked in a death struggle--those things
+mattered nothing to the contemptuous and independent Toledans. The Goth
+was the first real conqueror of Toledo; and the city, outwearing the
+scars of Rome, and throwing off the marks of the Moors, is, to-day, as
+insistently Gothic as Cordova and Seville are unmistakably Moorish.
+
+One sees Toledo from the distance, from the bridges, and from the heart
+of the city, and recognises that it is as it has always been--that it
+will go down into the tomb of the centuries unchanged. It grew “out of
+the night of ages”--its rocky throne has defied the ravages of time and
+the transforming ingenuity of man. Maurice Barrès, who has felt the
+majesty and melancholy of this gaunt monument of mediævalism, writes:
+“The landscape of Toledo, and the banks of the Tagus, are amongst the
+saddest and most ardent things of this world. Whoever lives here has
+
+[Illustration: PLATE XLIII.
+
+Cornice at Springing of Arches in a Window.]
+
+[Illustration: TOLEDO
+
+SANTA MARIA LA BLANCA--INTERIOR, 1100-1156.]
+
+[Illustration: PLATE XLIV.
+
+Panels on Walls.]
+
+no need to consider the grave youth, the ‘Penseroso,’ of the Medicis
+Chapel; he may also do without the biography and the ‘Pensées’ of Blaise
+Pascal. With the very sentiment realised by these great solitary works
+he will be filled, if he but give himself up to the tragic fierceness of
+the magnificences in ruins upon these high rocks. Toledo, on its
+hillside, with the tiny half circle of the Tagus at its feet, has the
+colour, the roughness, the haughty poverty of the sierra on which it is
+built, and whose strong articulations from the very first produce an
+impression of energy and passion. It is less a town, a noisy affair
+yielding to the commodities of life, than a significant spot for the
+soul. Beneath a crude illumination, which gives to each line of its
+ruins a vigour, a clearness, by which the least energetic characters
+acquire backbone, at the same time it is mysterious, with its cathedral
+springing towards the sky, its alcazars and palaces, that only take
+sight from their invisible patios. Thus, secret and inflexible, in this
+harsh, overheated land, Toledo appears like an image of exaltation in
+solitude, a cry in the desert.”
+
+Grim, austere, and forbidding is the general type of the Gothic
+character; the history of their kings in Spain is a long story of
+menace, bloodshed, and persecution; and that history covers Toledo as
+with a suit of battered mail. Christianity without the practice of the
+Christian virtues, valour divorced from mercy, power disjoined from
+justice--the religion, the might and majesty of the Gothic sovereigns,
+is a record of gloomy and revengeful despotism. Hermengildo, the Gothic
+saint, used his religion as an excuse for attempting to wrest the throne
+of Toledo from his father, Leovigildo, whom he denounced as a minister
+of the devil; Recaredo, who has been painted by historians as a model of
+all the Christian virtues, practiced a rigorous system of cruelty and
+vindictive bigotry; and his successors were notorious for their queer
+morality, and their persecution of the Jews. Yet San Ildephonso, the
+most famous archbishop of Toledo under the Goths, has enriched the
+history of Spain with many splendid fables of heavenly manifestations;
+and the piece he cut from the veil of a visiting saint, and the
+chasuble, with which the Virgin invested him with her own hands, are
+still displayed among the treasures of Toledo cathedral. The figures of
+Wamba and Rodrigo--the warrior king who was offered the alternative of
+the crown of Toledo, or the thrust of a Toledan dagger, and “the Last of
+the Goths”--stand out with dominating prominence on the stage of Gothic
+history, on which warriors and priests are the principal actors.
+
+The doctrine of the Gothic priesthood has been described as the
+“hardest, meanest, and brutallest imaginable,” and the Gothic warriors
+as men who were never other than savage tyrants, who “aped a culture
+which they could not understand, and with whose aims and tendencies
+their inmost character was powerless to sympathise.” These are the
+people who gave Toledo its character, a character which the art-adoring
+Arabs were unable to change or even to greatly modify. It is so
+important to understand the influence which was at work in the creation
+of the Toledan character, the atmosphere in which it was reared, and the
+discipline under which it developed, that I make no excuse for quoting
+the following illuminating appreciation of the Gothic nature from Mr.
+Leonard Williams’ chapter on Toledo: “Originally barbaric in their
+ferocity, the Goths became as their domination approached its inevitable
+end, barbaric in their effeminacy. So, too, with their religious
+beliefs. Excepting the clergy, who were men of some education and
+unlimited unscrupulousness,
+
+[Illustration: PLATE XLV.
+
+From one of the centre arches.
+
+From the entrance to the Divan.
+
+Spandrils of Arches.]
+
+[Illustration: TOLEDO
+
+THE GATE OF BLOOD.]
+
+the Christian Visigoth was every whit as barbaric as the heathen;
+barbaric, either in his violent fanaticism, or else in his total lack of
+individuality, and idiotic acquiesence in the schemes of a designing
+priesthood. An intermediate type was wholly, or almost wholly, wanting,
+and there is little to choose between Leovigildo, the ignorant and cruel
+desperado, and his meek successor, Recaredo, the unresisting prey of the
+ambitious metropolitan of Toledo.... The morals of the Visigoths were on
+a par with their refinement and their mode of living. Serfdom was the
+distinguishing mark of the commons; arrogance of the nobility; avarice
+and ambition of temporal power of the clergy; regicide and tumult of the
+Crown. It is clear that a people, disunited in this manner, could never
+have exercised a long supremacy in any case; and destiny, or chance,
+precipitated their downfall by the arrival of the one-eyed Tarik and his
+host, and the defeat of ‘the Last of the Goths,’ beside the
+memory-haunted osiers of the Guadalete.”
+
+Arrogance, avarice, ambition, regicide, tumult--here we have the
+distinguishing qualities of the nobles, the priests, and the kings of
+Toledo under the Gothic rule. The sovereigns and the nobles stamped
+their personality upon the city, and were themselves moulded and
+dominated by the priests. The priestly influence in Spain has ever been
+for austerity and heartless magnificence; it has ever sought to impress
+by fear and superstition. In the time of the Goths, Christianity
+developed through the increasing power of the bishops. The Church was
+terrible and forbidding; the nobility was arrogant and cruel; the
+monarchy was tyrannical and despotic. Hallam dismisses the consideration
+of the Visigoths in a sentence: “I hold,” he says, “the annals of
+barbarians so unworthy of remembrance that I will not detain the reader
+by naming one sovereign of that obscure race.” But, under those
+sovereigns, and by the hands of that obscure race, Toledo was
+established upon its rocky eminence, and it bears its character on its
+face to-day, as it did in the opening quarter of the eighth century,
+when the one-eyed Tarik entered its melancholy, deserted streets.
+
+The plunder that fell to the Moorish invader is variously reported, but
+all accounts are agreed that it was beyond calculation. According to the
+learned Mohammedan author, Al-leyth Ibn Said, the spoils were so
+abundant that the rank and file of the army all shared in the rewards,
+and it was a common thing for the humblest bowmen to be possessed of
+costly robes, magnificent gold chains of exquisite workmanship, and
+strings of matchless pearls, rubies, and emeralds. So great, in many
+instances, was the greed for plunder, and so grossly ignorant were the
+Berbers of the value of the spoil, that whenever a party of them
+happened upon a rich fabric, they did not hesitate to cut it up between
+them, without regard to its worth or workmanship. It is recorded that
+two Berbers secured a superb carpet, composed of the most splendid
+embroidery, interwoven with gold, and ornamented with filigree work of
+the purest gold, with pearls and other gems. The men carried it for
+awhile between them, but, finding this method of conveyance cumbersome,
+they carved the gem-encrusted fabric in twain with their swords. In this
+fashion, masterpieces of art were heedlessly destroyed for the sake of
+the raw material of which they were composed.
+
+Among the precious objects seized in the palace and church of Toledo
+were twenty-five golden and jewelled crowns--the crowns of the different
+Gothic kings who had reigned in Spain--the psalms of David, written upon
+gold leaf in water made of dissolved rubies, vases filled with precious
+stones, quantities of robes of cloth of gold and
+
+[Illustration: PLATE XLVI.
+
+Spandrils of Arches.]
+
+tissue, tunics of every variety of costly skirts and satins, magnificent
+suits of chain armour and mail inlaid with jewels, and jewel-studded
+swords and daggers, weapons of every description, and Solomon’s emerald
+table, wrought in burnished silver and gold. “This table,” says the
+Arabian chronicler, “was the most beautiful thing ever seen, with its
+golden vases and plates of a precious green stone, and three collars of
+rubies, emeralds, and pearls.” Other Arabian historians have claimed
+that it was composed of a solid emerald, and they are practically agreed
+that it was brought to Toledo after the sacking of Jerusalem, and that
+it was valued in Damascus at a hundred thousand dinars--about £50,000.
+Washington Irving, who invariably goes the whole hog when dealing with
+legendary history, says that this “inestimable table” was composed “of
+one single and entire emerald, and possessed talismanic powers; for
+tradition affirms that it was the work of genii, and had been wrought by
+them for King Solomon the Wise, the son of David. This marvellous relic
+was carefully preserved by Tarik, as the most precious of all his
+spoils, being intended by him as a present to the khalif; and, in
+commemoration of it, the city was called by the Arabs, Medina Almeyda;
+that is to say, ‘The City of the Table.’”
+
+But the historian, Ibnu Hayyau, the greatly trusted authority of
+El-Makkari, gives, in the translation of Don Pascual de Gayangos, the
+following account of the origin of this article of virtue: “The
+celebrated table which Tarik found at Toledo, although attributed to
+Solomon, and named after him, never belonged to the poet-king. According
+to the barbarian authors, it was customary for the nobles and men in
+estimation of the Gothic Court, to bequeath a portion of their property
+to the Church. From the money so amassed the priests caused tables to be
+made of pure gold and silver, gorgeous thrones and stands on which to
+carry the gospels in public processions, or to ornament the altars on
+great festivals. The so-called Solomon’s table was originally wrought
+with money derived from this source, and was subsequently emulously
+increased and embellished by successive kings of Toledo, the latest
+always anxious to surpass his predecessors in magnificence, until it
+became the most splendid and costly gem ever made for such a purpose.
+The fabric was of pure gold, set with the most precious pearls, rubies,
+and emeralds. Its circumference was encrusted with three rows of these
+valuable stones, and the whole table displayed jewels so large and
+refulgent that never did human eye behold anything comparable with
+it.... When the Moslems entered Toledo it was found on the great altar
+of the Christian church, and the fact of such a treasure having been
+discovered soon became public and notorious.”
+
+The history here assigned to the table is, it must be confessed,
+somewhat less improbable than the supposition of Gibbon, who is under
+the impression that if it ever existed it may have been carried away by
+Titus at the sacking of Jerusalem, and, later, to have fallen into the
+hands of the Goths at the taking of Rome by Alaric. Don Pascual,
+however, asks, very pertinently, whether it is likely that Bishop
+Sindered, and those who accompanied him in his flight, would have left
+behind them so valuable an object. And the conundrum still remains as to
+the present whereabouts of the table. It has been asserted that it forms
+part of the inestimable treasures of the Vatican, but as the devout
+Moslem would say, “Allah alone knoweth.”
+
+Tarik, who perceived in Musa’s haste to join him in Toledo and take
+possession of the spoils, an indication of the governor’s envy, decided
+to conceal one of the feet of
+
+[Illustration: TOLEDO
+
+INTERIOR OF SANTA MARIA LA BLANCA.]
+
+[Illustration: PLATE XLVII.
+
+Spandrils of Arches.]
+
+the table against future emergencies. Musa, who met Tarik with savage
+upbraidings for exceeding his instructions--and some go so far as to say
+that he supplemented his speech with strokes of his whip--demanded the
+production of Solomon’s table, and questioned Tarik as to the absence of
+the missing fourth foot. The wily general declared that he had found it
+in that condition, and Musa had the missing emerald supplied by a foot
+of gold. Subsequently Musa had Tarik cast into prison, and, it is said,
+that he would have encompassed his death but for the prompt intervention
+of the khalif, who sent peremptory commands that the successful
+campaigner should be restored to his command of the Moorish army.
+Thereupon Musa professed to restore Tarik to his confidence and
+friendship; but he must have regretted that he had not executed his
+original purpose, when, on the occasion of his presenting the famous
+table as his own discovery to the khalif at Damascus, Tarik proclaimed
+himself to be the discoverer, and, as proof of his contention, produced
+the missing emerald foot.
+
+The Moorish conquerors recognised the importance of Toledo as the
+capital of the Gothic empire, but these art-adoring, sun-worshipping
+warriors, who found their Eden in Andalusia, lavished their affection
+and culture on Cordova and Seville, and, for a time, Toledo became a
+secondary town. Musa’s son, Abdelasis, or Balacin, as Rasis el Moro
+calls him, married the widow of King Roderick, who has been variously
+styled Egilona, Exilona, and Blanche, and insisted upon every noble of
+the Moorish Court paying her extravagant homage; but the sultan held his
+Court at Cordova, and the Toledans never forgave this affront to their
+honour and dignity. They brooded in their stormy sullenness and
+independence. Their revolutionary instincts were never crushed; their
+discontent was never appeased through the three and a-half centuries of
+the Arab occupation of the city. Cassin, the Moorish ruler, became
+impregnated with the principles of independence, and threw off the yoke
+of Cordova, only to be betrayed in his turn by the Toledans, who,
+wearied of his tyranny, welcomed Abd-er-Rahman to the city, and
+submitted their allegiance to his throne. But throughout his reign the
+turbulent Toledans proved uncertain and prone to revolution, and his
+son, Hakam, who succeeded him, sought to conciliate them by appointing
+as governor a renegade Christian, one Amron, of Huesca. “By a
+condescension which proves our extreme solicitude for your interests,”
+the sultan wrote to his disaffected subjects, “instead of sending you
+one of our own subjects, we have chosen one of your compatriots.”
+Hakam’s error of judgment resulted in one of the most terrible deeds in
+the history of Toledo, perhaps the most disgraceful blot on the Moslem
+domination of Spain. Amron was entrusted with the mission of humbling
+his fellow countrymen to the rule of the sultan, and he achieved his
+object by the practice of a fiendish policy of perfidious cunning.
+
+By affecting an aversion to the sultan, and preaching the gospel of the
+independence of Toledo, he won the confidence of the nobles, and
+concerted with them in plots to reconquer the city. In furtherance of
+their plans, the people consented to have soldiers quartered upon them;
+they welcomed the building of a fortress commanded by a strong guard at
+the extremity of the city; and it was at their own suggestion that a
+castle was erected in the middle of the town as a stronghold for the
+valiant governor. Then, having fortified himself with the trust of the
+people, and packed the city with troops, Amron secretly advised the
+sultan that the Toledans were ready for the lesson that was
+
+[Illustration: TOLEDO
+
+GATE OF THE SUN.]
+
+to be read to them. Abd-er-Rahman, the son of Hakam, advanced towards
+the city at the head of a great army. The governor proposed that the
+nobles should go out to meet the young prince, and historians record
+that these implacable Gothic revolutionists were infatuated by the
+courtesy and cordiality with which they were received. The future sultan
+conquered their aversion by his grace and charm, and they loudly
+applauded Amron’s suggestion that he should be invited to accept the
+hospitality of the city. Abd-er-Rahman, instated in the castle of the
+governor, invited the nobles and representative men of Toledo to a great
+feast. They came in crowds, they were admitted to the castle singly, and
+not a single invited guest returned to his home. As each man crossed the
+courtyard of the castle he walked past an executioner, who stood in the
+shadow with uplifted blade awaiting his approach. No guest passed him.
+The nobles entered, the blade fell, and ready hands rolled the body into
+a ditch. In Spanish history that bloody day is known as the “Day of the
+Foss.”
+
+“Only conceive,” writes Hannah Lynch, “the horrible picture in all its
+brutal nakedness! The gaily-apparelled guest, scented, jewelled,
+smiling, alights from his carriage, looking forward to pleasure in
+varied forms, brilliant lights, delicate viands, exquisite wines, lute,
+song, flowers, sparkling speech. Then the quick entrance into a dim
+courtyard, a step forward, perhaps in the act of unclasping a silken
+mantle, the soundless movement of a fatal arm in the shadowy silence,
+the invisible executioner’s form probably hidden by a profusion of tall
+plants or an Oriental bush, and body after body, head upon head, roll
+into the common grave till the ditch is filled with nigh upon five
+thousand corpses. Not even the famous St. Bartholomew can compete with
+this, in horror, in gruesomeness. Compared with it, that night of Paris
+was honourable and open warfare. It is the stillness of the hour, the
+quickness of doing, the unflinching and awful personality of the
+executioners, who so remarkably struck down life as ever it advanced
+with smiling lips and brightly-glancing eye, that lend this scene its
+matchless colours of cruelty and savagery. Beside it, few shocking hours
+in history will seem deprived of all sense of mitigation and humanity.”
+
+Only a people rebellious by blood, by training, and by every tradition
+of their implacable race, could have thrown off the prostration that
+followed this terrible blow, and risen from their stupor with renewed
+determination to seize their independence. Yet Toledo survived this
+blow, and many others, which, if not so sudden and appalling, were
+sufficient to crush the spirit and deaden the aspiration of a more
+vincible nation. It is impossible to determine whether Abd-er-Rahman was
+an accessory to this deed of butchery, or to say if Amron planned the
+massacre in the belief that it was necessary to the maintenance of
+Moslem rule, to terrorise the Toledans into submission, or if the deed
+was inspired by the more subtle and diabolical intention of making the
+Moors more odious in the sight of the unmanageable citizens. When the
+people were sufficiently recovered from the horror of the atrocity to
+concoct a scheme of revenge, they acted with ferocious promptness. The
+cry for vengeance spread from the Zocodover into the surrounding
+country, and the people, hastily summoned into the city, surrounded the
+castle of Amron, and burnt the hateful fortress and its inmates to the
+ground. There, for the time, the insurrectionary movement stopped. An
+Arab governor was appointed, and the people, Christians and Jews as well
+as Moors, entered upon a new state of material prosperity. Under Aben
+Magot ben Ibraham the Moorish artistic influence
+
+[Illustration: TOLEDO
+
+DOOR OF THE HALL OF MESA.]
+
+[Illustration: EXTERIOR OF THE CHAPEL OF CRISTO DE LA VEGA.]
+
+began to make itself felt. The architecture bore the imprint of the
+governing race, beautiful gardens were laid out along the Vega, Arabian
+palaces sprang into being, and on the ruins of Amron’s castle there was
+built a new alcazar.
+
+But the respite from open tumult was only temporary. The Wali, finding
+the merchants increasing in riches, raised their tribute to the state,
+and smouldering discontent was immediately fanned into a flame. Led by a
+wealthy young Toledan, named Hacam, who subsequently earned the affix of
+“El Durrete”--“The Striker of Blows”--the people murdered the Moorish
+officials and captured the alcazar. The Moslem troops retaliated by
+recapturing that stronghold and routing the revolutionists. Hacam went
+into retirement until the Moors, lulled into security, relaxed their
+vigilance in the guardianship of the city, and then, striking swiftly
+through the neglected gates, he recovered the city between sunset and
+morning. The greater part of the upper town was burnt, the troops sent
+by Abd-er-Rahman II. were repulsed; and, although the Toledans were
+incidentally routed by the renegade Spaniard, Maisara, Toledo was not
+then retaken. In 873 the city was besieged for a whole year, and only
+surrendered when famine had rendered the citizens too weak to further
+resist the assaults of the Moorish troops.
+
+The next firebrand to project itself into the inflammatory fabric of
+Toledan discontent was the fanatical martyr, Eulogius. In Cordova this
+frenzied religionist had fired the Christians into reviling Mohammed,
+and thereby exasperating the Moslems into persecution. To the tolerant
+and broad-minded Moors, religious observances were prejudices to be
+respected. They permitted, to Christians and Jews, the fullest licence
+in the matter of worship; they only demanded that a similar respect
+should be observed towards their own faith. The Christians were not
+asked to reverence the Prophet of Islam, but the Moslems could not allow
+him to be openly blasphemed by the infidels. It was against the articles
+of their creed, and it was contrary to human nature. To-day the
+Christian who rebelled against such a reasonable restriction would be
+accounted a bigot, undeserving of sympathy; in the days of Eulogius, the
+revilers of Moorish religious prejudices were regarded as saints. Toledo
+jumped at their rulers’ resentment of the Christians’ wanton insult to
+their faith as an excuse for an outburst of religious indignation, and
+Sindola seized the city and declared war against the khalifate by way of
+protesting against the execution of Eulogius’s disciples. Ordoño, king
+of Leon, sent reinforcements to Sindola, and the allied armies were
+caught in an ambush by the Moors, who struck off 8,000 Christian heads
+for public exhibition in the various disaffected towns. This reverse had
+the desired effect, and the Toledans made no further move until the
+death of Wistremir afforded them an opportunity of exasperating the
+sultan Mohammed by electing Eulogius to the vacant archbishopric of
+Toledo. The sultan, who retaliated by investing the city, had the bridge
+undermined while it was in the occupation of his troops, and, by making
+a feigned retreat, enticed the impetuous Spaniards to give chase. The
+depleted structure collapsed beneath the sudden burden of the pursuing
+army, and hundreds of men met their death in the sullen depths of the
+Tagus.
+
+But neither massacre nor misfortune could shake the dogged Toledans from
+their purpose. With the king of Leon at their back, they put forth new
+efforts, and in 873 they forced Mohammed to acknowledge their
+independence as a Republic in return for the payment of an annual
+tribute. The treaty made with Mohammed was ratified by his successors,
+Mundhir and Abdallah. Even the Great Khalif, Abd-er-Rahman, was at first
+content to send from Cordova a royal proclamation, commanding Toledo to
+surrender her independence to the khalifate, and acknowledge him as
+liege lord, and it was not until 930, or eighteen years after he had
+ascended the throne, that he went up with his army against the arrogant
+and rebellious city. The siege of Toledo by Abd-er-Rahman lasted for
+eight years. The Moorish king built the city, which he called “Victory,”
+on a mountain commanding Toledo, and here he quartered his troops until
+famine and privation should open the gates for him. The long years of
+waiting culminated in a swift assault, and, at the close of a day’s
+fighting, the emaciated heads of the insurgent chiefs were impaled on
+spears to keep their last sightless watch from the walls of the city
+they had defended with such heroic fortitude.
+
+After the death of the Great Khalif, and, thenceforth until the
+Christian conquest, Toledo maintained a partial independence, tolerating
+the rule of Moslem princes, but paying no allegiance to Cordova. And in
+the end she was recovered to the Christians by a piece of picturesque
+treachery. Alfonso of Leon (Alfonso VI.) had fled from the monastery of
+Sagahun, and sought the protection of King Almamon of Toledo, from whom
+he received the most generous hospitality, including gifts of palaces,
+farms, and orchards, and the government of the Christian section of the
+inhabitants. The Moorish king demanded only the subscription of his
+guest’s allegiance, and, in return, he gave a sincere affection, and
+promises of faithful protection. Almamon, whose one vague but ever
+present concern was the possibility of Toledo ever falling again into
+the hands of the Christians, was discussing the subject one day with his
+courtiers in the garden of Alfonso’s palace, and engrossed in the
+consideration of the possible misfortune, he described minutely the only
+plan by which, in his opinion, the city might be taken. Alfonso, who was
+one of the company, affected to be asleep while this dissertation was in
+progress, and the courtiers, who were unable to restrain the eloquence
+of the king, endeavoured to obtain Almamon’s consent to the execution of
+his Christian guest. But the king refused to listen to this inhospitable
+proposition, and on the death of Sancho of Castile (who was murdered by
+Bellido, under the walls of Zamora), his brother, Alfonso of Leon,
+returned to his own kingdom, loaded with honours, and carrying with him
+the secret of Toledo’s vincibility. Before he departed the two kings
+swore eternal amity, and entered into an offensive and defensive
+alliance against the enemies of either, and the enemies of Almamon’s
+son, Yahya. But after the death of Almamon, Alfonso, forgetting his oath
+to his friend, and remembering only the plan of siege he had overheard
+in the garden of Toledo, adopted the principles invented by the Moorish
+theorist, and, in 1085, entered the city as its conqueror.
+
+What has Toledo to show to-day for the three and a-half centuries of the
+artistic influence of Morisco culture and influence? Surprisingly
+little! And yet it would be an even greater surprise if she had more to
+show. The village that climbs the bosom of a mountain does not alter the
+contour of its impassive resting-place; the etchings traced upon a
+Toledo blade does not affect the temper of the steel. The city is still
+“Moorish in appearance,” to employ the guide-book phrase, but it is
+gradually divesting itself of the marks which at one time, and then only
+in part, disguised its Gothic ancestry. Since Alfonso, the tyrant of the
+Galicians, seized the town of Toledo, “that pearl of the necklace, that
+highest tower of the empire in this Peninsula”
+
+[Illustration: TOLEDO
+
+ANCIENT GATE OF VISAGRA.]
+
+[Illustration: CASTLE OF ST. SERVANDO.]
+
+(to quote Abon I Hasan), the Moorish bridge, near Santa Leocadia, and
+the other, which crossed the old Roman waterway, have disappeared, and
+the legendary Palace of Galiana is let out in miserable tenements to the
+lowest class of peasants.
+
+Moratin has immortalised Galiana de Toledo, “most beautiful and
+marvellous,” and Calderon has written of the palace built for her by her
+father, Galafre, who ruled over Toledo for Abd-er-Rahman I. Galafre took
+the old Visigoth shell, and transformed the edifice, by the witchery of
+Moorish windows and arches and staircases, into a palace of delight. He
+devoted his knowledge of hydraulics to the unkempt Toledan Vega, and
+made of it a paradise of leaf and bloom and rill. In the fairy garden,
+Charlemagne, according to tradition, found the “most beautiful and
+marvellous” Galiana, and carried her away from the unwelcome addresses
+of her Moorish admirer, Prince Bradamante, to reign over France as his
+queen. The arms of the Guzmans, into whose possession the palace passed
+under Castillian rule, may still be descried upon its dismantled front.
+
+The wonderful clepsydras, or water clocks of Toledo, the invention of
+Abou-l’-Casem, Abdo-er-Rahman, or Az-Zarcal, as he is more usually
+styled, are quaintly and vaguely described in the following Moorish
+document: “One of the greatest towns of Spain is Toledo, and Toledo is a
+large and well-populated city. On all sides it is washed by a splendid
+river, called the Tagus.... Among the rare and notable things of Toledo
+is that wheat may be kept more than seventy years without rotting, which
+is a great advantage, as all the land abounds in grain and seed of all
+kinds. But what is still more marvellous and surprising in Toledo, and
+what we believe no other inhabited town of all the world has anything to
+equal, are some clepsydras, or water clocks. It is said that Az-Zarcal,
+hearing of a certain talisman, which is in the city of Arin, of Eastern
+India, and which, Masudi says, shows the hours by means of aspas, or
+hands, from the time the sun rises till it sets, determined to fabricate
+an artifice by means of which the people could know the hour of day or
+night, and calculate the day of the moon. He made two great ponds in a
+house on the bank of the Tagus, not far from the Gate of the Tanners,
+making them so that they should be filled with water or emptied
+according to the rise and fall of the moon.”
+
+In Babylonia, India, and Egypt, the clepsydra was used from before the
+dawn of history, especially in astronomical observations, and Latin and
+Greek writers refer to a type which resembled the modern sand glass, and
+was used in the courts of law to limit the length of the pleadings. The
+general form of the clepsydra, which Pliny ascribed to Scipio Nasica,
+consisted essentially of a float, which slowly rose by the tricklings of
+water from above through a small hole in a plate of metal. As the float
+rose it pointed to a scale of hours at the side of the water vessel; or,
+in the more elaborate forms, moved a wheel by means of a ratchet, and
+thus turned a hand on a dial.
+
+The Moorish recounter of the wonders of the water clocks of Toledo tells
+us that its movements were regulated by the moon. As soon as the moon
+became visible by means of invisible conducts, the water began to flow
+into the ponds, and, by day rise, the ponds were four-sevenths full. At
+night another seventh was added, so that by day or night the ponds
+continued to increase in water a seventh every twenty-four hours, and
+were quite full by the time the moon was full. On the 14th of the month,
+when the moon began to fall, the ponds also fell in like proportion. On
+the 21st of the month they were half empty, and on the 29th
+
+[Illustration: MOORISH SWORD.]
+
+completely so. The exact working of those clepsydras, however, is lost,
+as a bungling astronomer, who was deputed by Alfonso “the Learned” to
+examine them and discover the secret, broke the delicate machinery, and
+was forthwith dubbed a Jew by the indignant and exasperated Moors.
+
+Beyond the walls of the city is a stretch of fertile land beside the
+Tagus, which is called the Garden of the King; and at the further end of
+it is the country palace of Galiana. This pleasure house is of a later
+date than the palace of the same name within the city; but, like that
+debased edifice, it is a ruin, its walls of extreme thickness, flanked
+with two massive towers, only remaining to represent what was once
+
+    “A palace lifting to eternal summer
+     Its marble walls, from out a glossy bower
+     Of coolest foliage, musical with birds.”
+
+In the War of Independence the French soldiers made a ruin of the
+one-time magnificent Casa de Vargas, which was built by Juan de Herrera,
+and has been described by Antonio Ponz as one of the architectural
+splendours of Toledo. Ponz tells us that “the façade is perfect Doric,
+of exquisite marble, with fluted columns on either side, and the
+pedestals have military emblems in bas-relief. The frieze consists of
+helmets, heads of bulls, and goblets. The coat of arms above the cornice
+is most beautiful, and the women’s forms, seated on each side, are
+life-size. Nothing could be finer than the details, as well as the whole
+of this façade, and for sure it is the most serious, the most lovely,
+and most finished of all I have seen in Toledo. You enter a spacious
+courtyard with lofty galleries running round it above and below the
+lower gallery, sustained by Doric pillars and by the upper Ionic
+columns. The staircase is truly regal, and likewise the various inner
+chambers. They contain different chimney pieces, ornamented with
+graceful fancies executed in bas-relief; and thus, in the lower
+quarters, as in the principal, are other galleries with columns like
+those of the courtyard, with delicious views of the meadows and the
+Tagus.”
+
+In the most miserable quarter of the town, far up above the river, the
+visitor may see some huge blocks of stone, and a few broken arches--all
+that remains of the once magnificent Moorish palace of Henry of Aragon,
+lord of Villena. Henry of Aragon was an enlightened prince and erudite
+scholar, and the possessor of a superb collection of books, which were
+publicly burnt on the plea that their owner had intercourse with the
+devil. Don Enrique is said to have used the subterranean chambers and
+passages of the palace as a meeting-place for witches, and here he is
+supposed to have entertained his Satanic majesty. Samuel Levi, Pedro the
+Cruel’s treasurer, turned the palace vault into a strong-room, but the
+prince, in a needy moment, proved stronger; and the Toledans, following
+the example of their king, completed the sacking of the mansion. The
+Duke of Escalona, in the reign of Charles Quint, burnt the palace to the
+ground, and fled the city with his family, rather than give house-room
+to the treacherous Bourbon, the Constable of France, at the bidding of
+his royal master.
+
+There is in the little plaza of Santa Isabel, a half-obliterated Arabian
+inscription, wishing “Lasting prosperity and perpetual glory to the
+master of this edifice.” This inscription identifies the ruin as the
+palace of King Pedro. The beautiful Casa de Mesa bears scarcely a trace
+of the exquisite Moorish workmanship which characterised the palace of
+the Dukes of Alva; it is impossible to determine from the dilapidated
+Casa de las Tormerias whether it was originally built for a Moorish
+palace or a mezquita; while
+
+[Illustration: PLATE XLVIII.
+
+Plaster Ornaments, used as Upright and Horizontal Bands enclosing Panels
+on the Walls.]
+
+some few scraps of Moorish inscription in the wood-work of a ruined wall
+still testify to the origin of the Casa de Munarriz. The alcazar, which
+was twice destroyed by fire, is represented by the façades, the three
+towers, the patio, and the enormous staircase--perhaps the only parts of
+the building that were not rebuilt by Charles Quint. The edifice
+commenced by that monarch, and completed by Philip II., was for long the
+most splendid and colossal palace in Spain. Staremberg’s troops
+destroyed the building by fire in 1710; and, a century later, the French
+troops fired the structure which Carlos III. had recomposed out of the
+ashes of Charles V.’s alcazar. The Casa de Mesa, the palace of Estevan
+de Illan, is reduced to a single chamber of exquisite Moorish
+workmanship; the remaining Moorish part of the Taller del Moro is used
+as a common workshop; the regal staircase of the alcazar, so wide that a
+whole army might march up its noble steps, ends in space.
+
+As with the palaces of Toledo, so it is with its temples--the traces of
+Moorish art are nearly all defaced or obliterated. The mosque, which was
+replaced by the church of San Roman, possesses the purest mudejar
+steeple of Toledo, erected by Esteban de Illan, and another, if smaller,
+Moorish steeple, adorns the Santa Magdalena. A monument, which ranks
+among the most interesting in Spain, is the Cristo de la Luz, located
+between the Puerta del Sol and the Puerta Bisagra--a little gem of
+Moorish-Byzantine architecture, which is regarded as the oldest and most
+perfect specimen of its kind in the Peninsula. On the walls of this
+church, which remains to this day a perfect mosque, the conquering
+Alfonso VI. hung up his shield in 1035 to commemorate the first mass
+that was celebrated in Toledo after the defeat of the Moors. Until Tarik
+came to Toledo the mosque had been a Gothic temple, before which hung a
+cross, bearing an effigy of the crucified Christ. Legend declares that
+two impious Jews pricked the greatly-venerated body with a dagger, and
+that from the wound blood instantly gushed forth. The Jews, who
+attempted to evade the penalty of their folly by hiding the crucifix,
+were traced by the stains of blood to their house, and torn to pieces by
+the infuriated Christians. Tradition further asserts that the Jews
+planned a revenge by poisoning the feet of the restored statue, but that
+when a woman knelt before it the figure withdrew its foot from her kiss.
+Many other legends attach to the sacred relic, which was removed from
+before the church when the city was captured by the Moors, and secreted
+in a cavity in the wall, with a burning lamp placed before it. When the
+Moorish dominion came to an end, 370 years later, and the cavity was
+revealed, the unreplenished lamp was found to be still alight before the
+crucifix in the wall of the Moorish mosque. From this legend the church
+takes its name of the Christ of the Light.
+
+This wonderful little monument, which is only twenty-two feet by
+twenty-five feet, possesses six short naves, which cross each other
+under nine vaults, and in the centre are four short, stout columns,
+surmounted by sculptured capitals, from which spring sixteen heavy
+horseshoe arches. This forest of naves and arches comprises a miniature
+reproduction of the mosque of Cordova. Arcades, cusped in Moorish
+fashion, and supported on shafts, pierce the walls; the inevitable “half
+orange” ceiling domes the centre, and above the principal arch is the
+shield of Alfonso VI., embellished with a white cross on a crimson
+ground, which the victorious king handed to Archbishop Bernardo to
+supply the place of a cross above the dismantled altar. This gem of
+Moorish-Byzantine architecture, so small yet so perfect,
+
+[Illustration: ARAB FRAGMENT AT TARRAGONA.]
+
+so simple yet so fantastic, conveys an impression of amazing strength,
+and presents an admirable example of early Arabian work.
+
+The nunnery of Santa Fe, which was originally a regal Moorish palace,
+has been shorn of nearly all its ancient beauty, which is now only
+traceable in the arcaded brickwork of the wall, almost obliterated by
+exuberant foliage. There are still the remnants of Moorish ornamentation
+in the convent halls and corridors of San Juan de la Penitencia, and the
+influence of Moorish art is also seen in some good azulejo and the
+artesonade ceiling of Santa Isabel.
+
+The Alcantara bridge, which was originally a Roman structure, was
+repaired by the Goths in 687, and rebuilt by the Moors of 866. It was of
+this Moorish bridge that Rasis el Moro wrote: “It was such a rich and
+marvellous work, and so subtly wrought, that never man with truth could
+believe there was any other such fine work in Spain.” Since then it has
+been repaired and restored wholly, or in part, no fewer than eight
+times; and while these alterations have changed its style and
+appearance, it still remains one of the finest and most picturesque
+monuments of Toledo. The bridge of San Martin, which compares with it in
+interest and beauty, was built in 1203, and is guarded at either end
+with a tower and gateway adorned with Moorish arches and battlements.
+The bridge of San Martin gives entrance to the city through the gate of
+the Cambron. It is no longer Moorish, as it was in the time of Alfonso
+VI.; but on its half-renaissance, half-classical architecture, one may
+still read the remains of some of those grandiloquent utterances of the
+Moorish spirit which prompted Ponz to style Toledo the city of
+magnificent inscriptions. It was a devout, if somewhat credulous, spirit
+which inspired the transcription of the following article of faith:
+“There is but one God on earth, and Mohammed is His messenger. All the
+faithful who believe in our prophet Mohammed, and continue to kiss the
+hands and feet of Murabite Muley Abda Alcadar every day, will be without
+sin, will not be blind, nor deaf, nor lame, nor wounded; and receiving
+his benediction, when the time of his death comes, will only be three
+days ill and dying, will go with open eyes to Paradise forgiven of all
+sins.” Another inscription bore the following exhortation and
+compensatory promise: “Prayer and peace over our lord and prophet
+Mohammed. All the faithful, when they went to lie down in their beds,
+mentioning the Alfagiu Murabito Abdala, and recommending themselves to
+him, will enter no battle out of which they will not come victorious;
+and in whatever battle against Christians they may stain their lances
+with Christian blood, dying that same day, will go alive and whole with
+eyes open to Paradise, and his descendants will remain till the fourth
+generation forgiven.”
+
+The present Visagra Gate, rebuilt under Charles V., dates back to the
+Moors. It is entirely Moorish in character, with the heavy simple
+features, the triple horseshoe arches and upper crenellated apertures
+which we associate with the first period of Morisco architecture.
+Through this gate, which is now blocked up, Alfonso VI. entered Toledo.
+The two graceful square towers, roofed with green and white tiles, which
+compose the edifice, are joined by the high turreted walls of a square
+courtyard, and the decorations include the Senate’s dedication of the
+gate to Charles Quint, the sculptured arms of the emperor, a statue of
+St. Eugenie, two others of Gothic kings, and a life-sized angel holding
+an unsheathed sword. This cold, bare inventory of the ornaments of the
+gate convey no idea of the splendid impressiveness of the structure, the
+splendour and charm of
+
+[Illustration: PLATE XLIX.
+
+Blank Window.]
+
+which sink into comparative insignificance beside its glorious
+neighbour, the Gate of the Sun.
+
+This magnificent gate of rough stone, with its towers of brown granite,
+has been rightly described as one of the world’s masterpieces. Yet here
+again the pen is powerless to do justice to its beauty; and to describe
+its proportions and decoration is to complicate, rather than explain,
+the impression that is conveyed by the camera. The square towers, with
+their semi-circular fronts, and the great central arch resting on two
+Moorish columns, and the zones of ornamental arches above the
+horse-shaped openings, comprise a Moorish gem against a Spanish sky, a
+miracle of loveliness upon a rough and naked rampart. But how, cries
+Hannah Lynch, to write of this Puerta del Sol, that “thing of beauty
+even among crowded enchantments! It is to pick one’s way through
+superlatives and points of exclamation and call in vain on the goddess
+of sobriety to subdue our tendency to excess and incoherence. Put this
+matchless gate in the middle of the desert of Sahara; it would then be
+worth while making the frightful journey alone to look at it. However
+far you may have journeyed, you would still be for ever thankful to have
+seen such a masterpiece--incontestably a work of supreme art, perhaps
+the rarest thing of the world.” Whether the writer intends her high
+eulogy to be applied generally to any “work of supreme art,” or to the
+Puerta del Sol in particular, most people who have come under the
+witching influence of the art of the Moors, will not deny that it is
+well deserved.
+
+[Illustration: PLATE L.
+
+Rafters of a Roof over a Doorway, now destroyed, beneath the Tocador de
+la Reyna.]
+
+[Illustration: ANCIENT ARABIAN BATHS AT PALMA, MAJORCA.]
+
+
+
+
+MOORISH ORNAMENT
+
+A NOTE ON THE ELEMENTS OF ARAB ART
+
+
+In art, precept is subservient; practice is supreme. The idea which may
+be hidden in a picture is of little moment; it is the design, fully
+accomplished, which is prized. Its inspiration may become a “light to
+shine before men,” but it attains its paramount value only when
+realised.
+
+Refinement of manners and acuteness of intellect have, in the East,
+nothing in common with what we call education. In this social state,
+ignorance, which, among us, condemns a man, may be the condition of
+great originality. The Arab tent-dweller was, and is, often, a very
+superior man; for the tent is a kind of school, always open, where, from
+contact with educated guests who have seen men and cities, was produced
+an intellectual movement which led the Arab, in exchanging his nomadic
+life for a settled habitation, to translate the tent to a more solid
+form; to commute the tent-pole for a slender marble column; and to
+transform luxurious products of the loom, which had adorned his former
+dwelling, to a semblance of their golden tissues on fairy-decorated
+diapery.
+
+If the poetry and refinement of the South of Europe in modern times
+cannot be traced, as many authors would have us believe--notably Father
+Andres, a learned Spaniard, anxious to give to his own country the
+honour of imparting to the rest of Europe the first impulse of
+refinement after the fall of the Roman Empire--to the Arabs of Spain,
+much must still be allowed to their influence; for their progress in
+refinement was hardly less brilliant and rapid than their progress in
+Empire. At the period of the glory of Cordova, which began about A.D.
+750, and continued to the time of its conquest by the Christians in
+1236, the scholars of Spain were in a higher state of cultivation than
+could be found elsewhere; and if the Kingdom of Granada--the last
+stronghold of the Moslem--which ended in 1492, was less refined, it was
+perhaps more splendid and luxurious. The public schools and libraries of
+the Spanish Arabs were resorted to, not only by those of their own faith
+at home and in the East, but by Christians from different parts of
+Europe; and Pope Sylvester the Second (Gerbet, a Frenchman, Pope
+999-1003), one of the most remarkable men of his age, is believed to
+have owed his elevation to the culture he absorbed in Seville and
+Cordova.
+
+Arab art takes its place with the arts of Greece and Japan as one of the
+three great schools into which all styles of ornament naturally fall.
+Beauty and simplicity--the restrained rhythm and order which form the
+essential foundation of Greek art--is as distinct from the vivacious
+realism and unsymmetrical, haphazard decoration of the Japanese, as from
+that elegance and complexity produced by geometrical involutions
+symmetrically constructed, which constitute the basis of Moorish art.
+These three styles have been compared by Monsieur J. Bourgoin, in his
+_Elements of Arab Art_, to the three kingdoms of Nature. Greek art he
+likens to the animal kingdom, the Japanese art to the vegetable kingdom,
+and Arabian art, from the symmetry which recalls the crystallisation of
+minerals in its uniformity of configuration, and its elementary
+structure, he compares with the mineral kingdom.
+
+[Illustration: PLATE LI.
+
+Band at Springing of Arch at the Entrance to one of the Halls.]
+
+In the art of the Arabs the inspiration is completely independent of
+living nature. The Arab artist proceeds from within to the exterior; he
+sets himself problems, and transfers them by means of the compass and
+rule. The decorative impulse of Arab art consists of geometrical
+diagrams either carved into relief, or inlaid, or simply laid flat.
+Since the inspiration is dry, and purely abstract, the artistic
+development is slight and unimportant; and, since the motive is
+restricted, Arab decorative art has remained simple, but still of an
+incomparable elegance, because the harmony between inspiration and
+execution is perfect. By their creed Mohammedan artists were forbidden
+to represent living forms, yet they adopted the principles they found in
+Nature, and developed them with absolute fidelity. Thus, as I showed in
+dealing with the architecture of the Alhambra, in surface decoration by
+the Moors the lines flow from a parent stem; every ornament, however
+distant, can be traced to its branch and root. In all cases we find the
+lines radiating from a parent stem, as we may see exemplified in Nature
+by the human hand, or in a leaf. 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 expanse they have to
+decorate, they always commence by dividing the field into equal areas,
+and round these main lines they fill in their details, which invariably
+return to their parent stem, a system which proves them to have been
+absolute masters of space.
+
+In the introduction to my volume on the Alhambra, I emphasised this
+fact, that the Moors ever had regard to the first principle of
+architecture--to decorate construction, never to construct decoration.
+In Arabian architecture, not only does the decoration arise naturally
+out of the construction, but the constructive idea is carried out in
+every detail of the ornamentation of the surfaces. A superfluous or
+useless ornament is never found in Moorish decoration; every ornament
+arises naturally and inevitably from the parent design. The general
+forms were first laid down; they were subdivided by general lines; the
+interstices were then filled in with ornament, to be again subdivided
+and enriched for closer inspection. The principle was carried out with
+the greatest refinement, and the harmony and beauty of all Moorish
+ornamentation is derived from its observance. The highest distinction
+was thereby obtained; the detail never interfering with the general
+form. Seen at a distance, the main lines strike the eye; on nearer
+approach, the ornamentation comes into the composition; and a minute
+inspection reveals the detail on the surface of the ornaments
+themselves.
+
+Monsieur A. Rhone, in his _L’Egypte à Petites Journées_, holds that,
+“seeing the marvellous resources which the Arabs have found in geometry
+for decorating surfaces, one regrets less for art that the laws of
+Islamism have forbidden them, as an idolatrous act, to introduce
+representations of animated forms. Although these laws were not so
+strictly observed as is generally believed, who knows, if in turning the
+Arabian artists away from sculpture and statuary, they have not been the
+means of preserving this special and almost transcendant aptitude that
+the Semites have for all subtle combinations, and especially for those
+of geometrical numbers, lines, and figures?”
+
+Although the principles of Moorish art are so rigid and severe, the
+Arabs have not remained exempt from exterior influence, but have adapted
+and incorporated foreign feeling into their art, and modified it to
+their purpose. A note by the late Owen Jones greatly emphasises this
+fact. He says:--“When the Mohammedan religion and civilisation
+
+[Illustration: PLATE LII.
+
+Panelling of a Recess.]
+
+rose with such astonishing rapidity in the East, the Arabs, in their
+mosques, made use of the materials which they found ready to their hands
+in the ruins of old Roman buildings which they purposely destroyed; they
+took columns with their Corinthian capitals, etc., and adapted them to
+the arrangement required for their own temples. In their subsequent
+works they did not, as we should have done, continue to copy and
+reproduce the models which were at first so convenient to them; but,
+applying to them their own peculiar feelings, they gradually departed
+from the original model, to such an extent at last, that but for the
+intermediate steps we should be unable to discover the least analogy
+between them. Yet by this process the capitals of their columns can be
+traced back to the Corinthian order which they, in the first instance,
+found so abundantly for their use.”
+
+Arab art must ever remain distinct from every other school and style,
+because the essential foundation of it is fixed and limited. Now, those
+who resign themselves to a style of art reduce themselves to formulas,
+to copies, or to diagrams. Greco-Roman art has its formulas of ordinance
+and propositions; Chino-Japanese art has its characteristic copies; and
+Syro-Arabian art its abstract and geometrical diagrams. The general
+elements of Arabian art, as applied to architecture and decoration,
+consist of stalactites, intertwinings, and ornaments. Stalactites, which
+are at the same time ornaments and members of architecture, are employed
+in corbelling, in coving, and in pendentives, and are modelled and
+superposed by tapia, or cut in wood and placed side by side, or opened
+into hollows by superficial casings in wire and tressing. The
+intertwinings which embellish the surfaces are carved and trimmed in
+splitboards of carpentry, or laid in compartments, or carved in open
+work, or engraved in stone, wood, and metal; or set in filigree,
+vignettes, or mosaics. The ornaments, which divide themselves into
+decoration by embroidery or embellishment in sections, reduce themselves
+to a small number of elements, or flower-work cut flat in outline. The
+outlines, complete in the boundary which limits them, are quite
+characteristic. They do not resemble in any way, except in so far as the
+unalterable laws of geometry decree, the outline drawn by Europeans, nor
+the cursive traits used by the Chinese and Japanese. All Arab ornament
+is by involution of lines; in short, it may be said to be _entirely_
+geometric.
+
+The art of the Mohammedan, so powerful in appeal to the imagination, not
+only by beauty and grace, but by the doctrine of the Koran inscribed in
+their temples on every side in ornamented characters,--so admirably
+traced that they appear to form part of a perfected design proclaiming
+the power of Allah, and impressing upon the believer respect for the
+laws and the love of virtue;--produces an effect little short of
+magical. Still does that art accompany its religion in a lingering
+death. Crushed by the rapid strides which surrounding nations have made
+in the progress of civilization, and which have outrun and ruined it,
+yet do a few bright emanations appear, to show that as in religion they
+are faithful to their creed, so in art do their crumbling monuments
+preserve their shattered remains on which the observer still may see, in
+deep characters, the chronicles of the times.
+
+In the illustrations which accompany these brief notes, the Arab’s
+mastery of line in the composition of design may be studied, and its
+mystery revealed; but to reduce these geometrical intertwinings to their
+original elements demands patience, application, and very much time. At
+first sight these diagrams may appear monotonous, but each is
+constructed on a particular theme. Most of them spread
+
+[Illustration: PLATE LIII.
+
+Blank Window.]
+
+throughout the Orient, and may be more particularly studied in the
+Moorish monuments in Spain, where they are employed indifferently in
+carvings, in mosaic and inlaid work, in application to chased bronze,
+and in compartments of decoration and embroidery. The infinite variety
+the artists are able to introduce while working on strict rules, which
+admit of no exception, is the result of instinct perfected by centuries
+of practice. That in their work was something to be learned, as well as
+to be felt, is evident from the Moorish poet’s exhortation to us to
+attentively contemplate the adornments of their palaces, and thereby
+reap the benefit of a commentary on decoration. It is, then, for the
+benefit of students who would know something more of Arabian
+ornamentation than can be derived from the sensation produced by broad
+effects, and for lovers of the fine arts who would understand the
+inwardness of Moorish refinement and reduce its mysteries to their
+primary bases, that the accompanying diagrams have been reproduced.
+
+At foot of each diagram is added a short explanatory note; but it is
+expedient for the student to give consideration to the _plan_ which is,
+in every case, set out in dotted lines. By this means, he will discover,
+if he approaches his subject with a free mind, that his task will offer
+less difficulty than would appear at the outset. To minutely describe
+the construction of each diagram, and, at the same time comply with the
+stringent rules of geometry, would occupy much too great a space; nor
+would the result, perhaps, be proportioned to the labour.
+
+[Illustration:
+
+1 GREEK, RECTILINEAR.
+1’ GREEK, CURVILINEAR.
+2 CHINESE, RECTILINEAR.
+2’ GREEK, CURVILINEAR.
+3 and 4, GREEK, ALTERNATING
+    PATTERN.
+5, 6, 7, 8, 9, 10, GREEK, INTERCALARY PATTERNS.
+
+11 CHINESE.
+12 ASSYRIAN.
+13 POMPEIAN.
+14 GREEK.
+15 GREEK.
+16 GREEK.
+17 CHINESE, ALTERNATING PATTERN.
+
+18 GREEK, ALTERNATING PATTERN.
+19 CHINESE.
+20 CHINESE.
+21 ARABIAN.
+22 CHINESE.
+23 GREEK.
+24 RENAISSANCE.
+
+25 ARABIAN.
+26 CHINESE.
+27 CHINESE.
+28 PERSIAN.
+29 POMPEIAN.
+30 CHINESE.
+31 CHINESE.
+32 GREEK.]
+
+[Illustration: PLATE LIV.
+
+Ornaments on the Walls, House of Sanchez.]
+
+[Illustration:
+
+1, 2, 3, 4, GREEK AND ALBANIAN.
+5, 6, 7, 8, RENAISSANCE.
+9, 10, 11, 12, 13, 14, ITALIAN.
+15, 16, GALLO-ROMAN.
+17, 18, 19, ITALIAN.
+20 ITALIAN.
+21, 22, ITALIAN FAÏENCE.
+23 PONDICHERY.
+24 ARABIAN.
+25, 26, GREEK.]
+
+[Illustration:
+
+1, 2, 3, 4, 5, 6, 7, 8, 10, ARABIAN.
+9 CHINESE.
+11 RENAISSANCE.
+12 GREEK.
+13 ARABIAN.
+14 ARABIAN.
+15 GREEK, ALTERNATING PATTERN.
+16 GREEK.
+17 MEXICAN AND ARABIAN.
+18 GREEK.
+19 ARABIAN.
+20 AMERICAN, ANCIENT POTTERY.
+21, 22, ARABIAN.]
+
+[Illustration: PLATE LV.
+
+Ornament in panels on the Walls.]
+
+[Illustration:
+
+1, 2, EGYPTIAN.
+3 EGYPTIAN NECKLACE.
+4 ASSYRIAN.
+5 POMPEIAN.
+6 ITALIAN.
+7 EGYPTIAN.
+8 FRIEZE. 18TH CENTURY.
+9 GREEK.
+10 UNCERTAIN.
+11 ARABIAN.
+12 FRIEZE. 18TH CENTURY.]
+
+[Illustration:
+
+1, 2, 3, 4, FROM PAINTED VASES.
+5 GREEK.
+6 ORIENTAL FILIGREE.
+7, 8, GREEK.
+9 PERSIAN.
+10 GREEK.
+11 CHINESE.
+12 ORIENTAL FILIGREE.
+13 INDIAN.
+14, 15, PERSIAN.
+16 ARABIAN.
+17 GREEK.
+18 PERSIAN.
+19 ORIENTAL CHASING.
+20 ARABIAN.
+21 PERSIAN.
+22 TURKISH.
+23 GREEK.
+24 PASSEMENTERIE.
+25 NEAPOLITAN.]
+
+[Illustration:
+
+1, 1´, DAMASCENE.
+2, 2´, 2´´, 2´´´, ARABIAN.
+3, 3´, ARABIAN.
+4, 4´, 4´´, DAMASCENE (ANALOGOUS TO FIGS. 1´, 2´´´, 3´).
+5, 5´, ARABIAN.
+6, 6´, ARABIAN.
+7, 8, 9, ARABIAN.
+10, 10´, 11, 11’, CHINESE.
+12, 12´, GREEK.
+13, 14, PERSIAN.
+15, 16, ANGLO-SAXON.]
+
+[Illustration: Ornament in spandrils of arches.]
+
+[Illustration:
+
+1, 2, 3, GREEK.
+4 EGYPTIAN.
+5 STYLE “LABROUSTE.”
+5´ BYZANTINE.
+6 GREEK.
+7, 7´, GREEK.
+8, 9, 10, 10´, 11, 11´,
+GREEK (PARTHENON).]
+
+[Illustration:
+
+_Arabian Construction._
+
+1, 1´, ONE SPIRAL.
+2, 2´, TWO SPIRALS.
+3, 3´, THREE SPIRALS.
+4 CROSS QUARTERLY INDICATING POSITIONS ESSENTIAL TO THE _motif_ NUMBER 3.
+5, 6, 7, 8, REPETITIONS OF _motif_ NUMBER 3 VARIOUSLY TREATED.
+9, 10, 11, 12, 13, 14, ARRANGEMENTS BY ALTERNATING TREATMENT
+    OF _motif_ NUMBER 3.
+THESE ARRANGEMENTS AFFORD EXCELLENT EXAMPLES OF THE ENDLESS DIVERSITY
+OF GEOMETRIC FORMS.]
+
+[Illustration: PLATE LVII.
+
+Centre Ornament of the Window.
+
+Dado.      Dado.
+
+Pilaster.      Pilasters.
+
+Mosaic Dado in a window.
+
+The recess or divan containing these beautiful Mosaics was, doubtless,
+the throne of the Moorish kings. The Mosaics are as perfect as when
+originally executed, and seem, indeed, to be imperishable. They are
+formed of baked clay squeezed into moulds of the different figures,
+glazed on the surface.]
+
+[Illustration: PLATE LVIII.
+
+Mosaic Dados on pillars between windows.
+
+The Mosaic Dados on the pillars present a great variety in their
+patterns, although the component parts are in each the same.]
+
+[Illustration: PLATE LIX.
+
+Mosaic Dados on pillars between windows.
+
+These Mosaics, though in appearance so different from those of the
+preceding plate, will be found on examination to be composed of the same
+pieces differently combined.]
+
+[Illustration: PLATE LX.
+
+Lining of one of      Pilaster.
+the columns.
+
+Dado.      Dado.      Dado.
+
+The beautiful Mosaic in the centre of this plate is part of the Dado.]
+
+[Illustration: PLATE LXI.
+
+Pavement of the Hall of the Baths.
+
+Mosaic Dado round the internal walls of the Mosque.
+
+     Mosaics from the Mosque and the Hall of the Baths. 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 situation. The motto of the
+     Kings of Granada, “_There is no conqueror but God_,” was replaced
+     by “_Nec plus ultra_” of Charles V., when the Mosque was converted
+     by him into a chapel. The beautiful Mosaic at the top of the plate
+     is placed round the fountain of the Chamber of Repose of the Baths.]
+
+[Illustration: PLATE LXII.
+
+Azulejos.      Painted Tiles.
+
+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 plate.]
+
+[Illustration: PLATE LXIII.
+
+Mosaics in the Baths.]
+
+[Illustration: PLATE LXIV.
+
+Mosaic from the portico of the Generalife.]
+
+[Illustration: 1, 2, 3, VARIATIONS ON A CHINESE _motif_.
+
+4, 5, 6, VARIATIONS ON A _motif_ HISPANO-ARABIAN.
+
+7, 8, 9, VARIATIONS ON A _motif_, SYRO-ARABIAN.
+
+10, 11, 12, VARIATIONS ON A _motif_, GALLO-ROMAN.]
+
+[Illustration: PLATE LXV.
+
+Ornaments in Panels.]
+
+[Illustration: 1 SIMPLE PLAIT, UNDULATED.
+
+2 DOUBLE PLAIT.
+
+3 SIMPLE PLAIT, INTERSECTED.
+
+4 PLAIT, FROM A GREEK VASE.
+
+5 REDOUBLED PLAIT, GREEK.
+
+6 INFLECTED PLAIT, GREEK.
+
+7 INFLECTED PLAIT, GREEK.
+
+8 QUADRUPLED PLAITS, INTERLACED, SICILIAN.
+
+9 SICILIAN.
+
+10 TRIPLE PLAIT, GREEK.
+
+11 TRIPLE PLAIT, GREEK.
+
+12 DIVERSIFIED PLAIT, NEAPOLITAN.
+
+13 GREEK.
+
+14 GREEK.
+
+15 ARABIAN.
+
+16 PERSIAN (THREE PLAITS, INTERSECTED).
+
+17 GREEK.]
+
+[Illustration: PLATE LXVI.
+
+Ornaments over Arches at one of the Entrances.]
+
+[Illustration: _Egypto-Arabian Knot, or Net-work._
+
+1 DERIVED FROM THE PENTAGON.
+
+2 VARIETY OF PROCEEDING.
+
+3, 4, TRIGONOMETRICAL.
+
+5 OCTAGONAL.
+
+6 HEPTAGONAL.
+
+7 QUADRILATERAL.
+
+8 OCTAGONAL.]
+
+[Illustration: _Indo-Syro-Arabian Knot, or Net-work._
+
+1 SQUARES AND OCTAGONS.
+
+2 DERIVED FROM SQUARES.
+
+3 DERIVED FROM THE SQUARE: FROM THE CENTRE A DODECAGON AND OTHER FIGURES
+ARE FORMED BY SUB-DIVISION.
+
+4 DERIVED FROM THE SQUARE: THE ANGLES BEING DIVIDED, THE RESULTING RAYS
+DETERMINE THE FIGURES BY INTERSECTION.
+
+5 ANALOGOUS TO FIGURE 2.
+
+6 TRIGONOMETRICAL.
+
+7 HEXAGONAL.]
+
+[Illustration: PLATE LXVII.
+
+Ornaments on the Walls.]
+
+[Illustration: 1, 1’, BRICK FACINGS FROM ROSETTA.
+
+2, 3, 4, ARABIAN.
+
+5 JAPANESE.
+
+6 GRECO-ASSYRIAN.
+
+7 ARABIAN.
+
+8 CHINESE.]
+
+[Illustration: 1 ARABIAN.
+
+2 ORNAMENTED BRICK, ROSETTA.
+
+3, 4, 5, 6, FOUR ANALOGOUS _motifs_, RESPECTIVELY CHINESE, ARABIAN
+(_bis_) AND GRECO-ASSYRIAN.
+
+7 ARABIAN.
+
+8 GRECO-EGYPTIAN.]
+
+[Illustration: PLATE LXVIII.
+
+Ornaments in Panels on the Walls.]
+
+[Illustration: 1 ARABIAN (DAMASCUS).
+
+2 CEILING, LOUIS XIII.
+
+3, 4, 5, ARABIAN (DAMASCUS)?
+
+6 INDIAN.]
+
+[Illustration: 1, 2, 3, 4, 5, 6, 7, 8, ARABIAN.]
+
+[Illustration: 1 INCRUSTATION ON POTTERY, FROM OIRON.
+
+2 RENAISSANCE.
+
+3 MEXICAN.
+
+4 CHINESE.
+
+5 EGYPTIAN.
+
+6 ARABIAN.
+
+7, 8, 9, EARLY TILES, FROM DAMASCUS, ROME, AND FLORENCE RESPECTIVELY.
+
+10 ITALIAN.
+
+11, 11’, EGYPTIAN.
+
+12 ITALIAN.]
+
+[Illustration: PLATE LXIX.
+
+Small Panel in Jamb of a Window.]
+
+[Illustration: 1 PERSIAN.
+
+2 ARABIAN CEILING, FROM CAIRO.
+
+3 CEILING, PAINTED BY DUBAN.
+
+4 BYZANTINE.
+
+5 CHINESE.
+
+6 POMPEIAN.]
+
+[Illustration: PLATE LXX.
+
+Small Panel in Jamb of a Window.]
+
+[Illustration: 1, 2, LACE-WORK.
+
+3, 3’, EGYPTIAN.
+
+4, 4’, EGYPTIAN.
+
+5, 6, EGYPTIAN.]
+
+[Illustration: 1, 2, 3, ANGLO-SAXON.
+
+4 EGYPTIAN. STRANGELY ANALOGOUS TO NUMBER 3.
+
+5, 6, 7, ANGLO-SAXON.
+
+8 EGYPTIAN.]
+
+[Illustration: 1 ARABIAN.
+
+2 ITALIAN.
+
+3 RENAISSANCE.
+
+4 ARABIAN.
+
+5 ARABIAN.
+
+6 ARABIAN.]
+
+[Illustration: 1, 2, 3, FROM THE CHURCH OF ST. CROIX, JERUSALEM.
+
+4 SICILIAN.
+
+5, 6, 7, 8, ARABIAN.
+
+9, 10, CHISELLINGS ON STONE, JERUSALEM.
+
+11 MARBLE CHASING, JERUSALEM.
+
+12, 13, ARABIAN CHASINGS, ON COPPER.]
+
+[Illustration: PLATE LXXI.
+
+Panel in the Upper Chamber of the House of Sanchez.]
+
+[Illustration: 1, 2, 3, “PALMETTES” FROM THE PROWS OF _dahabiehs_ (NILE
+BOATS)
+
+4, 5, 6, 7, 8, GREEK, FROM EXAMPLES AT ATHENS.]
+
+[Illustration: 1-9. THIS PLATE IS DEVOTED TO CURVILINEAR FIGURES,
+CHIEFLY FROM ATHENS.
+
+FIGURE 7 IS FROM A MURAL DECORATION AT POMPEII.]
+
+DESCRIPTION OF THE PLATES
+
+HEXAGONAL FAMILY
+
+[Illustration: 1 PLAN, TRIANGULAR. TO DESCRIBE THE HEXAGON.]
+
+[Illustration: 2 PLAN, TRIANGULAR. LARGE AND SMALLER HEXAGONS.]
+
+[Illustration: 3 PLAN, TRIANGULAR. CURVILINEAL TRANSFORMATION OF THE
+PRECEDING FIGURE.]
+
+[Illustration: 4 TRIANGLES CURTAILED; OR, TERNARY HEXAGONS
+INTERSECTED.]
+
+[Illustration: PLATE LXXII.
+
+Spandril from Niche of Doorway at one of the Entrances.]
+
+[Illustration: 5 INTERSECTIONS IN COMPARTMENTS. FIVE FIGURES--LARGE AND
+SMALLER HEXAGON; HEXAGON OF UNEQUAL LENGTH; DOVE-TAILED HEXAGON;
+HEXAGONAL STAR; TRIANGLE.]
+
+[Illustration: 6 HEXAGONS INTERSECTED CIRCULARLY BY THE SIX POINTS, THE
+APICES UNITED BY A TRIANGLE. FOUR FIGURES--STAR, PENTAGON, TRIANGLE,
+LOZENGE.]
+
+[Illustration: 7 HEXAGONS, INTERSECTED BY THE APICES. THREE
+FIGURES--STAR, LOZENGE, DODECAGON.]
+
+[Illustration: 8 TRIANGULAR PLAN. FROM THE APICES OF THE TRIANGLES OF
+DIVISION DRAW HEXAGONAL STARS. THE PLAN IS INTERSECTED BY DETACHED
+HEXAGONS ENCLOSING THE STARS.]
+
+[Illustration: 9 TRIANGLES ENCLOSED, AND LEAVING HEXAGONAL STARS, THE
+STARS BEING JOINED BY ZIG-ZAG BANDS.]
+
+[Illustration: 10 HEXAGONAL STAR, OF WHICH A SIDE FROM EACH APEX IS
+EXTENDED IN REVOLVING; THREE STARS THUS REVOLVED ARE JOINED BY A BAND.]
+
+[Illustration: 11 BANDS ENVELOPING A HEXAGON.]
+
+[Illustration: 12 RECTANGLES INTERSECTING REGULARLY BY THREES, AND
+INTERLACED BY THEIR SMALLER SIDES, THEIR EXTREMITIES, PENETRATING,
+FORMING THREE PAIRS OF PENTAGONS.]
+
+[Illustration: PLATE LXXIII.
+
+Lintel of a Doorway.]
+
+[Illustration: 13 FROM THE APICES OF TRIANGLES OF DIVISION DESCRIBE
+CIRCUMFERENCES; DIVIDE THE CIRCUMFERENCES IN TWELVE EQUAL PARTS, AND
+TAKE THE DIAGONALS OF FIVE IN FIVE DIVISIONS; THUS STARS OF SIX POINTS
+ARE OBTAINED. THESE STARS CONTAIN IN THE ENCLOSURE A HEXAGON OF TERNARY
+SYMMETRY, WITH ANGLES ALTERNATELY RIGHT AND OBTUSE.]
+
+[Illustration: 14]
+
+[Illustration: 15 FROM THE APICES OF THE TRIANGLES OF DIVISION DESCRIBE
+A CIRCUMFERENCE. WITH A RADIUS EQUAL TO THAT OF THE TRIANGLE. INSCRIBE A
+DODECAGON; THEN TAKE THE DIAGONALS OF THREE IN THREE DIVISIONS FROM THE
+OTHER DIAGONALS WHICH FORM THE SQUARES.]
+
+[Illustration: 16 FIGURE ANALOGOUS TO FIGURE 8. _q.v._]
+
+[Illustration: 17 FROM THE APICES OF THE TRIANGLES OF DIVISION DESCRIBE
+CIRCUMFERENCES HAVING A RADIUS EQUAL TO ONE-THIRD OF A SIDE; SUB-DIVIDE
+THEM INTO TWELVE EQUAL PARTS, THEN TAKE THE DIAGONALS OF THREE IN THREE
+DIVISIONS. THE RADIUS OF THE CIRCUMFERENCES WOULD BE SMALLER OR LARGER
+THAN THE ONE-THIRD OF THE SIDE; AND THEN, BY MEANS OF AN ADJUSTMENT, THE
+SQUARES BETWEEN THE APICES WOULD HAVE A SIDE EQUAL TO THAT OF THE
+STARS.]
+
+[Illustration: 18 DODECAGONS INTERSECTED BY EACH OTHER, WHICH ARE
+OBTAINED BY SUB-DIVISION OF THE ANGLES OF THE TRIANGLES INTO FOUR EQUAL
+PARTS.]
+
+[Illustration: 19 DODECAGONS CONTAINING SIX-POINTED STARS SUB-DIVIDED BY
+BANDS. THE RADIUS OF THE DODECAGONS IS EQUAL TO HALF A SIDE OF THE
+TRIANGLES OF DIVISION.]
+
+[Illustration: 20 FROM THE APICES OF THE TRIANGLES DESCRIBE A
+CIRCUMFERENCE, WITH ITS RADIUS EQUAL TO HALF A SIDE OF THE TRIANGLES.
+THE SIX-POINTED STARS AND BANDS WHICH ARE DERIVED FROM THEM COULD BE OF
+DIFFERENT PROPORTIONS.]
+
+[Illustration: 21 DISTRIBUTION PROCEEDING FROM HEXAGONS AND TRIANGLES.]
+
+[Illustration: 22 SIX-POINTED STARS AND HEXAGONS, FROM WHICH PROCEED
+BAND-WORK AND LOZENGES.]
+
+[Illustration: 23 HEXAGONS, TRIANGLES, AND SIX-POINTED STARS.]
+
+[Illustration: 24 SUBJECT SIMILAR TO NUMBER 21.]
+
+[Illustration: PLATE LXXIV.
+
+Capital of Columns.]
+
+[Illustration: 25 LARGE HEXAGONS CROSSED AND CUT BY FIGURES QUARTERED BY
+EIGHT SIDES; HORIZONTAL AND VERTICAL BANDS PROCEEDING FROM SIX-POINTED
+STARS.]
+
+[Illustration: 26 FROM THE APICES OF THE TRIANGLES OF DIVISION DESCRIBE
+THE CIRCUMFERENCES, AND DIVIDE THEM INTO TWELVE EQUAL PARTS. BY THE
+POINTS OF THE STAR THUS MADE, DESCRIBE SIX HALF-CIRCLES, IN EACH CASE
+FORMING A ROSETTE. SMALL INTERCALARY CIRCLES UNITE THE ROSETTES.]
+
+[Illustration: 27 EACH SIX-POINTED STAR IS SURROUNDED BY A ROSETTE OF
+SIX HEXAGONS, WHICH, IN THEIR TURN, DISTRIBUTE THEIR LINES TO FORM
+LARGER HEXAGONS.]
+
+[Illustration: 28 EACH SIX-POINTED STAR IS SURROUNDED BY A ROSETTE OF
+SIX HEXAGONS, WHICH ARE SUPPLEMENTED BY PERPENDICULAR LINES, WHICH, BY
+INTERSECTING OCTAGONS THEMSELVES, ARE THE MEANS OF COMPLETING SMALL
+HEXAGONS.]
+
+[Illustration: 29 FROM THE UPPER ANGLES OF THE SQUARES OF DIVISION TRACE
+STARS SIX-POINTED, ROTATING ALTERNATELY AS SHOWN IN DIAGRAM. THE
+JUNCTION OF THE LINES OF DIVISION DETERMINE THE POINTS OF THE FIGURE.]
+
+[Illustration: 30 ALTERNATING DISPOSITIONS OF SIX-POINTED STAR, WITH
+EXTERIOR ROSETTE OF SIX HEXAGONS. THE ANGLES OF THE SQUARE BEING DIVIDED
+INTO THREE EQUAL PARTS BY A FIRST AND SECOND RADIUS, A CIRCUMFERENCE IS
+MADE, WITHIN WHICH IS INSCRIBED THE STAR OF SIX POINTS. THE REST
+FOLLOWS.]
+
+[Illustration: 31 SUBJECT ANALOGOUS TO NUMBERS 28, 29.]
+
+[Illustration: 32 ALTERNATING DISPOSITION OF SIX-POINTED STAR,
+SURROUNDED BY SIX HEXAGONS. SUB-DIVIDE THE ANGLES OF THE SQUARE INTO
+THREE EQUAL PARTS. THE CONJUNCTION OF THE RADII WITH THEM, AND WITH THE
+MEDIALS OF THE SQUARE, MAKE THE FIGURE. IN THE CENTRE OF THE SQUARE A
+LINEAL SUBJECT, ALTERNATING.]
+
+[Illustration: PLATE LXXV.
+
+Capital of Columns.]
+
+[Illustration: 33 HEXAGONAL AND OCTAGONAL DISTRIBUTION.]
+
+[Illustration: 34 HEXAGONAL DISTRIBUTION. PENTAGONAL STARS AND
+HEXAGONS.]
+
+[Illustration: 35 HEXAGONAL STAR INSCRIBING A SECOND SIX-POINTED STAR.
+THE INTERSECTIONS GIVE LOZENGES AND HEXAGONS.]
+
+[Illustration: 36 SQUARE PLAN. DIVIDE OPPOSITE LINES INTO THREE, AND BY
+THE CENTRE OF THE SQUARE CARRY TWO CROSS LINES.]
+
+[Illustration: PLATE LXXVI.
+
+Capital of Columns.]
+
+[Illustration: 37 TRIANGULAR PLAN. HEXAGONAL STAR AND HEXAGONAL ROSETTE
+ENCLOSED BY REGULAR HEXAGON.]
+
+[Illustration: 38 HEXAGONAL, SQUARE, AND TRIANGULAR PLAN. HEXAGONAL
+DISTRIBUTION. DODECAGON STAR IN CENTRES.]
+
+[Illustration: 39 TRIANGULAR PLAN. HEXAGONAL DISPOSITION.]
+
+[Illustration: 40 TRIANGULAR PLAN. HEXAGONS AND TRIANGLES; INTERSECTED
+HEXAGONS; HEXAGONAL CURVILINEAR ROSETTES.]
+
+[Illustration: PLATE LXXVII.
+
+SEVILLE.
+
+Socle of the Entrance Arch to the Antechapel.]
+
+[Illustration: 41 TRIANGULAR PLAN. DODECAGONAL STARS; HEXAGONAL STARS
+ENCLOSED BY REGULAR HEXAGON.]
+
+[Illustration: 42 SQUARE PLAN. FROM THE CENTRE DESCRIBE A CIRCUMFERENCE;
+DIVIDE CIRCUMFERENCE INTO EIGHT EQUAL PARTS, STARRED OCTAGONS ARE THUS
+OBTAINED, THE PROLONGED SIDES OF WHICH DETERMINE QUADRILATERAL STARS.]
+
+[Illustration: 43 CURVILINEAL TRANSFORMATION OF FIGURE 42.]
+
+[Illustration: 44 OCTAGONAL STARS; INTERSECTING LOZENGES, SQUARES,
+TRILATERALS.]
+
+[Illustration: 45 DIVIDE THE SQUARE INTO FOUR EQUAL PARTS. THE MEETING
+OF THE FIRST LINE WITH THE MEDIAN OF THE SQUARE GIVES THE RADIUS OF A
+CIRCUMFERENCE. THE DIAGONAL LINES GIVE AN OCTAGONAL STAR.]
+
+[Illustration: 46 SQUARE PLAN. FROM THE CENTRE A CIRCUMFERENCE, AND BY
+DIAGONALS A STARRED OCTAGON.]
+
+[Illustration: 47 CURVILINEAR AND UNDULATING OCTAGONS AND PENTAGONS.]
+
+[Illustration: 48 DISTRIBUTION OF STARRED AND REGULAR OCTAGONS, WITH
+STARRED PENTAGONS.]
+
+[Illustration: 49 OCTAGONAL ROSETTES FOLLOWING ISOCELES TRIANGLE WITH
+PENTAGONAL STARS AND REGULAR OCTAGONS INTERCALARY.]
+
+[Illustration: 50 DESCRIBE CIRCUMFERENCES AS SHOWN IN PLAN, IN WHICH ARE
+CARRIED DIAGONALS. FROM THE CENTRE INSCRIBE A SQUARE. THE INTERSECTIONS
+OF THE LINES OF THE STAR COMPLETE THE FIGURE.]
+
+[Illustration: 51 DESCRIBE CIRCUMFERENCES EQUAL AND TANGENT, AND DIVIDE
+INTO SIXTEEN EQUAL PARTS. BY THE ANGLES OF DIVISION DESCRIBE A PENTAGON
+STARRED. BY THE CENTRE OF THE SQUARE AN OCTAGON STARRED, FROM WHICH
+EMANATES AN OCTAGON ROSETTE. HEXAGONS REGULAR AND STARRED.]
+
+[Illustration: 52 DIVIDE TANGENT CIRCUMFERENCES INTO SIXTEEN EQUAL
+PARTS. SIMILAR DISPOSITION TO FIGURE NUMBER 49, BUT WITH DIFFERENT
+TREATMENT.]
+
+[Illustration: 53 DESCRIBE CIRCUMFERENCES AS IN PLAN; INSCRIBE THEREIN
+BY THE DIAGONALS A STAR, THE SIDES OF WHICH, PROLONGED AND INTERSECTED
+BY THE OCTAGONAL STAR, DETERMINE THE ROSETTES.]
+
+[Illustration: 54 DIVIDE CIRCUMFERENCES AS IN PLAN INTO THIRTY-TWO EQUAL
+PARTS. FROM THE CENTRE OF THE SQUARE INSCRIBE A STAR OF SIXTEEN POINTS,
+THE PROLONGATION OF ITS LINES FORMING THE ROSETTE OF SIXTEEN.]
+
+[Illustration: 55 DESCRIBE CIRCUMFERENCES AS IN PLAN. FROM THE CENTRE OF
+THE PLAN BY RADIATING LINES INSCRIBE A STARRED OCTAGON; THE PROLONGATION
+AND MEETING OF ITS LINES IN REPETITION COMPLETE THE FIGURE.]
+
+[Illustration: 56 DESCRIBE CIRCUMFERENCES AS IN PLAN. IN THE CENTRE OF
+FOUR EQUAL SQUARES TRACE AN OCTAGONAL ROSETTE, AFTER HAVING TAKEN IN THE
+LARGE ROSETTE OF SIXTEEN POINTS, WHICH LENDS ITS LINES TO THE FORMATION
+OF EIGHT SURROUNDING CRUCIFORM FIGURES.]
+
+[Illustration: PLATE LXXVIII.
+
+SEVILLE.
+
+Socle of the Entrance Arch to the Chapel.]
+
+[Illustration: 57 FROM THE CENTRE OF FOUR EQUAL SQUARES DESCRIBE
+CIRCUMFERENCES AS IN PLAN. INSCRIBE THEREIN THE STARRED OCTAGON, THE
+PROLONGED SIDES OF WHICH DETERMINE THE QUADRILATERAL ROSETTE.]
+
+[Illustration: 58 THE SQUARE OF DISTRIBUTION IS A RECTANGLE LENGTHENED,
+FROM WHICH OCTAGONS ARE TRACED. TERNARY STARS, YET WITH SIX POINTS, AND
+PAIRED STARS WITH FIVE POINTS FILL IN THE RECTANGLE.]
+
+[Illustration: 59 DESIGN OF FOUR FIGURES. AN OCTAGON, A HEXAGON PAIRED,
+A STARRED PENTAGON, AND A STARRED HEXAGON.]
+
+[Illustration: 60 ANALOGOUS TO NUMBER 58, WITH CLOSER DEVELOPMENT.]
+
+[Illustration: 61 A STARRED OCTAGON, THE PROLONGED LINES OF WHICH FORM
+AN OCTAGONAL ROSETTE, SEPARATED BY A REGULAR HEXAGON.]
+
+[Illustration: 62 DIVIDE CIRCUMFERENCES AS IN PLAN INTO SIXTEEN EQUAL
+PARTS. THE DIAGONALS WILL GIVE A STAR OF SIXTEEN POINTS, THE LINES OF
+WHICH, EXTENDED, FORM A ROSETTE OF SIXTEEN POINTS WITHIN A SQUARE. THE
+ANGLES OF THE SQUARE INTERSECT REGULAR HEXAGONS.]
+
+[Illustration: 63 DESCRIBE THE CIRCUMFERENCES AS IN THE PLAN. INSCRIBE
+FROM A CENTRE A STARRED OCTAGON ENCLOSED WITHIN A REGULAR OCTAGON, A
+STARRED HEXAGON WITHIN ALTERNATE HEXAGONS, AND A CRUCIFORM FIGURE WITHIN
+A FOUR-POINTED STAR.]
+
+[Illustration: 63’ DESCRIBE CIRCUMFERENCES AS IN THE PLAN, AND FROM A
+CENTRE INSCRIBE A STARRED OCTAGON; FROM THE EXTENDED LINES IS FORMED A
+CRUCIFORM FIGURE. FROM OTHER CENTRES INSCRIBE STARRED AND REGULAR
+HEXAGONS.]
+
+[Illustration: SEVILLE.
+
+Detail of the Tiles of the Altar.]
+
+[Illustration: 64 DESCRIBE CIRCUMFERENCES AS IN THE PLAN. FROM A CENTRE
+INSCRIBE A STARRED OCTAGON OF WHICH THE SIDES ARE PROLONGED. BY THESE
+PROLONGATIONS, AND BY OCTAGONAL FIGURES IN PAIRS, THE TRACING IS
+COMPLETE.]
+
+[Illustration: 65 DIVIDE CIRCUMFERENCES AS IN THE PLAN INTO TWENTY-FOUR
+EQUAL PARTS, AND INSCRIBE FROM A CENTRE A STARRED DODECAGON, THE
+EXTENDED LINES OF WHICH DETERMINE THE INTERSECTING LINES OF THE
+ROSETTE.]
+
+[Illustration: 66 DESCRIBE CIRCUMFERENCES AS IN THE PLAN. FROM A CENTRE
+INSCRIBE A STARRED DODECAGON ANALOGOUS TO NUMBER 65.]
+
+[Illustration: 67 TRIANGULAR PLAN. DESCRIBE CIRCUMFERENCES AS IN THE
+PLAN. FROM A CENTRE INSCRIBE A STARRED DODECAGON, THE EXTENDED LINES OF
+WHICH FORM THE UNEQUAL LIMBS OF A ROSETTE, AND A CRUCIFORM FIGURE WITHIN
+A SQUARE.]
+
+[Illustration: PLATE LXXX.
+
+SEVILLE.
+
+Socle in the Interior of the Chapel.]
+
+[Illustration: 68 DIVIDE AS IN THE PLAN. INSCRIBE A STARRED DODECAGON,
+THE SIDES OF WHICH PROLONGED INSCRIBE THE LINES OF THE ROSETTE. FOUR
+ROSETTES PENETRATE EACH OTHER, AND ARE EACH INVADED BY A STAR HAVING
+TRIANGULAR WEBS.]
+
+[Illustration: 69 FROM A CENTRE AS IN THE PLAN DESCRIBE A STARRED
+DODECAGON, THE SIDES OF WHICH PROLONGED FORM THE LINES OF THE ROSETTE.
+THE ROSETTE, BY EXTENDING LINES, IS SURROUNDED BY TWELVE HEXAGONS.]
+
+[Illustration: 70 DIVIDE AS IN THE PLAN. DESIGN ANALOGOUS TO NUMBER 69.
+BY EXTENSION OF LINES OF THE ROSETTE HEXAGONS ARE GROUPED.]
+
+[Illustration: 71 DIVIDE AS IN PLAN. DESIGN ANALOGOUS TO NUMBER 70.]
+
+[Illustration: PLATE LXXXI.
+
+SEVILLE.
+
+Socle in the Interior of the Chapel.]
+
+[Illustration: 72 DIVIDE AS IN PLAN. THE CIRCUMFERENCES DIVIDED INTO
+TWENTY-FOUR EQUAL PARTS DETERMINE THE ROSETTE, THE EXTENDED LINES OF
+WHICH DESCRIBE THE STARRED PENTAGON.]
+
+[Illustration: 73 CURVILINEAR TRANSFORMATION OF NUMBER 72 BY THE
+SUBSTITUTION OF ARCS FOR RECTILINEAL FEATURES.]
+
+[Illustration: 74 DIVIDE THE CIRCUMFERENCES INTO TWENTY-FOUR EQUAL
+PARTS. INSCRIBE THE STARRED DODECAGON, THE EXTENDED LINES OF WHICH
+DESCRIBE THE ROSETTE.]
+
+[Illustration: 75 DESCRIBE THREE CONCENTRIC CIRCUMFERENCES AS IN PLAN.
+THE ROSETTE BECOMES ENTIRE BY LINES EXTENDED FROM THE STARRED DODECAGON.
+CROSSED LINES FROM THE ROSETTE DETERMINE THE SQUARE.]
+
+[Illustration: 76 TRANSFORMATION OF NUMBER 75. ROSETTE IDENTICAL. IN THE
+CENTRE OF A SQUARE DESCRIBE AN OCTAGON, THE PROLONGED SIDES OF WHICH
+INVADE THE SQUARE WHICH FIGURES AROUND THE ROSETTE.]
+
+[Illustration: 77 DIVIDE AS IN PLAN. FROM A CENTRE TRACE A STARRED
+HEXAGON, THE EXTENDED LINES OF WHICH CUT THE PROLONGED LINES OF THE
+ROSETTE.]
+
+[Illustration: 78 DESCRIBE CIRCUMFERENCES AS IN PLAN. FROM A CENTRE
+TRACE A STARRED DODECAGON. THUS ARE DETERMINED ROSETTES PLACED END TO
+END, EACH IN A REGULAR HEXAGON.]
+
+[Illustration: 79 DESCRIBE CIRCUMFERENCES AS IN PLAN. THE ROSETTE IS
+DETERMINED BY THE STARRED DODECAGON. THIS DESIGN IS MOST DIVERSIFIED,
+AND CAPABLE OF EXHAUSTIVE FORMS OF ORNAMENT.]
+
+[Illustration: 80 FROM A CENTRE DRAW A STARRED DODECAGON, WHICH
+DETERMINES THE ROSETTE, THE CROSSED LINES AT THE POINTS OF THE ROSETTE
+DETERMINING THE MANY REGULAR HEXAGONS AND _tricèles_.]
+
+[Illustration: 81 HEXAGONAL DISTRIBUTION. FROM A CENTRE DRAW A STARRED
+DODECAGON DETERMINING THE ROSETTE, THE ALTERNATELY CROSSED LINES OF
+WHICH FORM A _tricèle_, WITHIN A SECOND CIRCUMFERENCE, AS IN THE PLAN,
+DRAW A STARRED HEXAGON, THE EXTENDED LINES FORMING SIX REGULAR
+HEXAGONS.]
+
+[Illustration: 82 FROM A CENTRE A STARRED DODECAGON. THE LINES EXTENDED
+FORM AN OUTER STARRED DODECAGON, AND BY CROSSING DESCRIBES A STARRED
+HEXAGON AND A LOZENGE, WITHIN WHICH IS A CRUCIFORM FIGURE.]
+
+[Illustration: 82’ THE RADIUS OF THE CIRCUMFERENCE IS EQUAL TO A THIRD
+OF THE HEIGHT OF THE TRIANGLE, AND THE SQUARE MAKES A STAR OF FOUR
+POINTS AT EACH ANGLE.]
+
+[Illustration: 83 DRAW CIRCUMFERENCES AND DIVIDE AS IN PLAN. THE STARRED
+DODECAGON DETERMINED BY INTERTWINED SQUARES. THE LINES OF THE DODECAGON,
+EXTENDED AT INTERVALS, FORM A STAR OF FOUR POINTS.]
+
+[Illustration: 84 DESCRIBE CIRCUMFERENCES AS IN PLAN. FROM A CENTRE AN
+INNER AND OUTER STARRED DODECAGON, THE LINES OF WHICH EXTENDED FORM A
+STARRED AND REGULAR HEXAGON, INCLUDING A STARRED OCTAGON WHICH MERGES
+INTO A CRUCIFORM FIGURE.]
+
+[Illustration: 85 TRACE THE NET-WORK OF THE DODECAGON, THE HEXAGON, AND
+THE FOUR-POINTED STARS. FOLLOW DIAGONALS AS IN PLAN.]
+
+[Illustration: 86 DRAW CIRCUMFERENCES AS IN PLAN. FROM A CENTRE AN INNER
+AND OUTER STARRED DODECAGON. EXTENDED LINES OF THE INNER DODECAGON FORM
+SIX SQUARES WHICH INVADE A REGULAR DODECAGON.]
+
+[Illustration: Mosaics from Various Halls.]
+
+[Illustration: 87 SQUARE PLAN. AN INNER AND OUTER STARRED DODECAGON, AND
+A REGULAR DODECAGON BY DIAGONALS.]
+
+[Illustration: 88 SQUARE PLAN. DESCRIBE CIRCUMFERENCES AND DIVIDE THEM
+INTO TWENTY-FOUR EQUAL PARTS, AND DRAW THE DIAGONALS OF EIGHT IN EIGHT
+DIVISIONS. THE REST FOLLOWS.]
+
+[Illustration: 89 NET-WORK OF THE DODECAGON AND THE TRIANGLE ASSEMBLED.
+BY EXTENDED LINES OF THE STARRED DODECAGON AN IRREGULAR POLYGON, AND A
+ROSETTE OF TWELVE LIMBS ARE FORMED.]
+
+[Illustration: 90 ISOCELES PLAN. A CIRCUMFERENCE IS DRAWN IN A SQUARE
+AND DIVIDED INTO TWENTY-FOUR EQUAL PARTS. A CIRCUMFERENCE, CONCENTRIC TO
+THE FIRST, COMPLETES THE ROSETTE BY MEANS OF DIAGONALS. THE SMALL
+HEXAGON AND THE OCTAGON ARE TRACED.]
+
+[Illustration: 91 DESCRIBE CIRCUMFERENCE AND DIVIDE INTO TWENTY-FOUR
+EQUAL PARTS. THE REGULAR DODECAGON IS DRAWN. THE INNER AND OUTER STARRED
+DODECAGONS ARE DESCRIBED BY RADIATING LINES.]
+
+[Illustration: 92 NET-WORK OF THE HEXAGON AND THE TRIANGLE. THE ROSETTE
+OF TWELVE POINTS SPRINGING FROM A STARRED DODECAGON IS ENCLOSED BY A
+HEXAGON, TRELLISED, FROM WHICH THE _tricèles_ ARE DRAWN.]
+
+[Illustration: 93 OF SIMILAR INTENTION TO NUMBER 92, BUT AN IRREGULAR
+HEXAGON RECEIVES INTERCALARY LOZENGES.]
+
+[Illustration: 94 TRIANGULAR PLAN. TRACED BY TRELLISED NET-WORK. THE
+HEXAGON ENVELOPED IN SPIRALS.]
+
+[Illustration: 95 TRIANGULAR PLAN. HEXAGON ENVELOPED IN SPIRALS.
+ANALOGOUS TO NUMBER 94.]
+
+[Illustration: 96 NET-WORK OF THE OCTAGON, HEXAGON, AND CIRCLE,
+ASSEMBLED. FROM THE STARRED OCTAGONS A CURVILINEAL ROSETTE.]
+
+[Illustration: 97 SQUARE PLAN. STARS AND ROSETTES. DESCRIBE
+CIRCUMFERENCES AS INDICATED. THE OCTAGONAL STARS RECEIVE THE EXTENDED
+LINES OF THE HEXAGONAL AND PENTAGONAL STARS. THE REST FOLLOWS.]
+
+[Illustration: 98 DIVIDE CIRCUMFERENCES AS IN THE PLAN. FROM THE CENTRE
+OF THE HEXAGONAL ROSETTE DESCRIBE A CIRCUMFERENCE TANGENT TO THE FIRST,
+AND DIVIDE INTO TWELVE PARTS. BY THE AID OF THE PENTAGON COMPRISED
+COMPLETE THE ROSETTE; THEN, DEPENDING ON THE PENTAGON--WHICH, THOUGH
+IRREGULAR, RULES ALL--TRACE THE PENTAGONAL FIGURE WHICH STANDS ON THE
+POINTS OF THE ROSETTES.]
+
+[Illustration: PLATE LXXXIII.
+
+Mosaics from Various Halls.]
+
+[Illustration: 99 ISOCELES PLAN. DIVIDE THE SPACE SURROUNDING THE ACUTE
+APICES OF THE LOZENGE INTO TWENTY EQUAL PARTS, AND OF THE OBTUSE APICES
+INTO SIXTEEN. IN THE ONE DRAW A STARRED DECAGONAL, AND IN THE OTHER A
+STARRED OCTAGONAL ROSETTE. THE ADJUSTMENT OF TWO TYPES SO DIFFERENT IS
+NOT CONSIDERED SUCCESSFUL.]
+
+[Illustration: 100 DIAGRAM OF THE DODECAGON, HEXAGON AND SQUARE. IN THE
+CENTRE OF THE SQUARE A REGULAR OCTAGON, WHICH IS SUPREME. THEN FROM THE
+STARRED DODECAGON INSCRIBE A ROSETTE OF TWELVE POINTS; LASTLY, FROM THE
+STARRED HEXAGON INSCRIBE A ROSETTE OF SIX POINTS.]
+
+[Illustration: 101 DIVIDE THE CIRCUMFERENCES AS IN THE PLAN, THE ONE
+INTO TWENTY-FOUR AND THE OTHER INTO TWELVE EQUAL PARTS. FOR THE REST,
+THE CENTRES BEING INDICATED, IT IS EASY TO TRACE THE ARCS, AND SO
+COMPLETE THE FIGURE.]
+
+[Illustration: 102 THE LOZENGE AND TRELLISED ROSETTE EMANATING FROM
+STARRED HEXAGON, ALTERNATING ROW BY ROW WITH DODECAGONAL ROSETTE
+SPRINGING FROM STARRED DODECAGON.]
+
+[Illustration: PLATE LXXXIV.
+
+Part of Ceiling of a Portico.]
+
+[Illustration: 103 DESCRIBE THE CIRCUMFERENCES AS IN PLAN. BY THE POINTS
+OF THE STARRED HEXAGON DESCRIBE A REGULAR HEXAGON. BY LINES EXTENDED
+FROM THE STARRED HEXAGON THE TWELVE-POINTED ROSETTE IS FORMED,
+CONSTRUCTING AT THE SAME TIME THE STARRED DODECAGON.]
+
+[Illustration: 104 DESIGN ANALOGOUS TO NUMBER 103, BUT WITH CHANGE OF
+_motif_.]
+
+[Illustration: 105 SQUARE PLAN. DIVIDE AS INDICATED AND INSCRIBE A
+STARRED DODECAGON, THE EXTENDED LINES OF WHICH FORM AN OUTER STAR ALSO
+OF TWELVE POINTS; THE STARRED OCTAGON IS CONSTITUTED BY POINTS PROLONGED
+FROM THE DODECAGON.]
+
+[Illustration: 106 SQUARE PLAN. SIMILAR GROUND-WORK TO THAT OF NUMBER
+105. THE DODECAGONAL AND OCTAGONAL ROSETTES ARE DESCRIBED BY CONCENTRIC
+CIRCUMFERENCES.]
+
+[Illustration: 107 SQUARE PLAN. SIMILAR GROUND-WORK TO NUMBERS 105 AND
+106. THE TREATMENT CONSIDERABLY CHANGED.]
+
+[Illustration: 108 SQUARE PLAN. SUB-DIVIDE AS INDICATED. INSCRIBE THE
+PENTAGON, THE EXTENDED LINES OF WHICH ESTABLISH THE OCTAGONAL STAR AND
+ROSETTE, AS WELL AS THE DODECAGONAL ROSETTE AND STAR.]
+
+[Illustration: 109 SQUARE PLAN. DIVIDE AS INDICATED. THE FLOWER-WORK
+WHICH ACCOMPANIES THE IRREGULAR OCTAGON, THOUGH INDEPENDENT OF GEOMETRIC
+CONSTRUCTION, IS YET WITHIN THE PROPULSION OF THE LINES.]
+
+[Illustration: 110 GROUND-WORK ANALOGOUS TO NUMBER 108, BUT ON A
+TRIANGULAR PLAN. THE EXTENDED LINES OF THE PENTAGON GOVERN THE
+ENNEAGONAL AND DODECAGONAL STAR AND ROSETTE.]
+
+[Illustration: 111 CURVILINEAR TRANSFORMATION OF NUMBER 110.]
+
+[Illustration: 112 TRIANGULAR PLAN. DISTRIBUTION OF ENNEAGONAL AND
+DODECAGONAL STARS AND ROSETTES. [THE DODECAGON ONLY PARTIALLY
+DISPLAYED.]]
+
+[Illustration: 113 TRIANGULAR PLAN. SIMILAR CONSTRUCTION TO NUMBER 112.
+THE DODECAGONAL STAR, ROSETTE, AND OUTER STAR, WHICH ARE IN THE DIAGRAM
+NUMBER 112 ONLY PARTIALLY SEEN, ARE HERE DISPLAYED.]
+
+[Illustration: 114 TRIANGULAR PLAN. FROM A CENTRE AS IN PLAN DESCRIBE
+CIRCUMFERENCES, WHICH RULE THE DODECAGONAL STAR, ROSETTE, AND OUTER
+STAR. MANY OF THE FIGURES ARE DRAWN INDEPENDENTLY, THOUGH GOVERNED BY
+DIVISIONS.]
+
+[Illustration: 115 DIVIDE AS IN PLAN. INSCRIBE A DECAGONAL ROSETTE, FROM
+THE PROLONGED LINES OF WHICH PROCEED THE PENTAGONAL STAR, THE REGULAR
+OCTAGON, AND OTHER FIGURES.]
+
+[Illustration: 116 DIVIDE AS IN PLAN. TWO DIFFERENT ROSETTES, ONE OF
+TWELVE AND THE OTHER OF FIFTEEN POINTS. [THE DODECAGONAL ROSETTE IS,
+HOWEVER, ONLY PARTIALLY SHOWN HERE.]]
+
+[Illustration: 117 DESCRIBE CIRCUMFERENCES AND TRACE ROSETTE OF SIXTEEN
+POINTS. THE LINES EXTENDED WILL COMPLETE THE FIGURE.]
+
+[Illustration: 118 CURVILINEAR TRANSFORMATION OF NUMBER 117.]
+
+[Illustration: 119 DIVIDE AS INDICATED, AND THE RESULTING ROSETTE OF
+SIXTEEN POINTS, WHICH WOULD NATURALLY BE RECTILINEAR, MAY BE EASILY
+TRANSFORMED TO CURVILINEAR; WHILE THE PENTAGONAL STARS, TREATED IN
+UNDULATING FORM, BECOME FLOWER-WORK OR FOLIAGE.]
+
+[Illustration: 120 SAME GROUND-WORK AS NUMBER 119. BUT HERE THE ROSETTE
+IS STARRED, END ON END, ABOUT THE POINTS.]
+
+[Illustration: 121 SUB-DIVIDE AS IN PLAN. THE CIRCUMFERENCE GOVERNING
+THE HEPTAGON IS DIVIDED INTO EQUAL PARTS; BY PROLONGING THE SIDES OF THE
+HEPTAGON THE ROSETTE OF SIXTEEN POINTS IS INSCRIBED.]
+
+[Illustration: 122 CIRCUMFERENCES TANGENT TO THOSE OF THE PENTAGON
+INSCRIBE THE ROSETTE OF SIXTEEN POINTS.]
+
+[Illustration: 123 TRANSFORMATION OF THE RECTILINEAL ROSETTE NUMBER 122.
+THE FIGURES IN OTHER RESPECTS IDENTICAL.]
+
+[Illustration: 124 DIVIDE AS INDICATED. THE EXTENDED LINES OF THE
+HEXAGON INSCRIBE THE ROSETTE OF EIGHTEEN POINTS AND THAT OF NINE POINTS.
+THE REST IS BUT A MATTER OF ADJUSTMENT.]
+
+[Illustration: 125 DESIGN ANALOGOUS TO NUMBER 124. IN THIS ARRANGEMENT,
+TWO SIDES OF THE HEPTAGON PROLONGED DETERMINE THE ROSETTE OF EIGHTEEN
+AND THAT OF TWELVE POINTS.]
+
+[Illustration: 126 SQUARE PLAN. DIVIDE AS INDICATED. INSCRIBE A ROSETTE
+OF TWENTY POINTS (THE HALF OF WHICH IS SHOWN IN THE DIAGRAM). IN A
+TANGENT CIRCUMFERENCE INSCRIBE THE ROSETTE OF TWELVE POINTS. THE REST
+FOLLOWS.]
+
+[Illustration: 127 DISTRIBUTION OF THE DODECAGON, HEXAGON, AND SQUARE
+ASSEMBLED. BY THE MIDDLE POINTS OF THE SIDES OF THE DODECAGON INSCRIBE A
+STAR AND A ROSETTE OF TWENTY-FOUR POINTS. WITHIN THE HEXAGON INSCRIBE
+TWO TRIANGLES FROM A TANGENT CIRCUMFERENCE. A LOZENGE IS INSCRIBED
+BETWEEN OPPOSITE SIDES OF THE SQUARE. LASTLY, BY _tricèles révolvés_,
+ALL THE PROLONGED LINES ARE RECONCILED.]
+
+[Illustration: 128 DISTRIBUTION OF THE DODECAGON, HEXAGON, AND SQUARE
+ASSEMBLED. IN THE DODECAGON INSCRIBE A ROSETTE OF TWENTY-FOUR POINTS; IN
+THE HEXAGON A ROSETTE OF TWELVE POINTS; AND, LASTLY, IN THE SQUARE A
+ROSETTE OF EIGHT POINTS. A LITTLE PENTAGONAL STAR RECONCILES THE
+PROLONGED LINES.]
+
+[Illustration: 129 SUB-DIVIDE AS IN PLAN. DODECAGON, HEXAGON, AND SQUARE
+ASSEMBLED. IN THE DODECAGON A ROSETTE OF TWELVE POINTS. IN THE TANGENT
+CIRCUMFERENCE SIX HEXAGONS. THE SQUARE GOVERNS THE PROLONGED LINES.]
+
+[Illustration: 130 THE ROSETTES ARE AS IN NUMBER 129. THE SMALLER
+HEXAGONS GOVERN THE PRINCIPAL FIGURES.]
+
+[Illustration: 131 SQUARE PLAN; DISTRIBUTION FOLLOWS THE NET-WORK OF THE
+OCTAGON AND SQUARE. THE ROSETTE IS LINKED BY THE SMALLER OCTAGONS.]
+
+[Illustration: 132 ANALOGOUS TO NUMBER 131.]
+
+[Illustration: 133 OCTAGONS AND SQUARES ASSEMBLED. THE OCTAGONAL ROSETTE
+GOVERNS.]
+
+[Illustration: 134 SUB-DIVIDE AS INDICATED. DESCRIBE A CIRCLE IN WHICH
+IS INSCRIBED A STAR WITH SIDES PROLONGED, DETERMINING AN OCTAGONAL
+ROSETTE. BY CONCENTRIC CIRCLES, SOMEWHAT ARBITRARY, THE ROSETTE OF
+SIXTEEN POINTS IS DETERMINED.]
+
+[Illustration: 135 SUB-DIVIDE AS IN PLAN. IN A CIRCLE IS INSCRIBED AN
+OCTAGONAL ROSETTE, AND TAKE A TANGENT CIRCUMFERENCE IN WHICH TO INSCRIBE
+THE ROSETTE OF SIXTEEN POINTS. THE REST FOLLOWS.]
+
+[Illustration: 136 DISTRIBUTION OF THE OCTAGON AND SQUARE. A CONCENTRIC
+CIRCLE CONTAINS ARCS COMPOSING A CURVILINEAR ROSETTE, WITHIN WHICH IS A
+ROSETTE OF FIVE POINTS. IN THE CENTRE OF THE SQUARE PLAN A CURVILINEAR
+ROSETTE ENCLOSING AN OCTAGONAL ROSETTE WITH SIDES PROLONGED, BRINGING
+INTO ACCORD THE PENTAGONAL ROSETTES.]
+
+[Illustration: 137 SUB-DIVIDE THE MAIN CIRCLE INTO THIRTY-TWO EQUAL
+PARTS, AND INSCRIBE THE ROSETTE OF SIXTEEN POINTS. OTHER CIRCLES ARE
+INSCRIBED, EACH CONTAINING A PERFECT OCTAGON.]
+
+[Illustration: 138 NET-WORK OF OCTAGON AND SQUARE. INSCRIBE A ROSETTE OF
+EIGHT POINTS, AND IN A CIRCUMFERENCE TANGENT INSCRIBE A ROSETTE OF
+TWENTY-FOUR POINTS. THE ROSETTES ARE BROUGHT INTO ACCORD BY THE
+HEXAGONS.]
+
+[Illustration: 139 IN A CIRCUMFERENCE INDICATED IN THE SQUARE PLAN
+INSCRIBE THE OCTAGONAL ROSETTE. EXTENDED SIDES DETERMINE THE PERFECT
+OCTAGONS.]
+
+[Illustration: 140 SQUARE PLAN. OCTAGONAL AND SQUARE DISTRIBUTION. TWO
+ROSETTES, ONE OF SIXTEEN AND ONE OF EIGHT POINTS. THE DIAGONALS FROM THE
+ANGLES OF THE PENTAGON COMPLETE THE ROSETTE OF SIXTEEN POINTS, AND THE
+EXTENDED SIDES OF THE PENTAGON DETERMINE THE OCTAGONAL ROSETTE.]
+
+[Illustration: 141 SQUARE PLAN. NET-WORK OF THE OCTAGON AND SQUARE
+ASSEMBLED. DESCRIBE CIRCUMFERENCES AS IN THE PLAN. IN JOINING THE POINTS
+OF DIVISION, THERE IS ON THE ONE PART THE HEXAGON, AND ON THE OTHER PART
+THE ROSETTE OF SIXTEEN POINTS. THE _tricèle révolvé_ ASSISTS IN
+ELUCIDATING THE NET-WORK.]
+
+[Illustration: 142 CURVILINEAR NET-WORK COMPOSED OF STARS OF FIVE, SIX,
+AND EIGHT POINTS. DESCRIBE THE CIRCUMFERENCES AS IN THE PLAN. ONE CIRCLE
+DESCRIBES THE STAR OF FIVE POINTS; ANOTHER CIRCLE INSCRIBES A
+CURVILINEAR IRREGULAR HEXAGON; STILL ANOTHER CIRCLE INSCRIBES A STAR OF
+EIGHT POINTS, AND THE LAST CIRCLE A STAR OF SIX POINTS.]
+
+[Illustration: 143 SUB-DIVIDE AS INDICATED. THE PROLONGED LINES OF THE
+PENTAGONAL STAR DETERMINE THE DECAGONAL STAR AND ROSETTE.]
+
+[Illustration: 144 DIVIDE AS IN THE PLAN. BY TANGENT CIRCUMFERENCES
+INSCRIBE THE ROSETTES. BY SIDES EXTENDED THE REST FOLLOWS.]
+
+[Illustration: 145 OCTAGONAL, DECAGONAL, AND DODECAGONAL STARS AND
+ROSETTES. BY SIDES PROLONGED THE REST FOLLOWS.]
+
+[Illustration: 146 OCTAGONAL, DECAGONAL, AND DODECAGONAL STARS AND
+ROSETTES. BY EXTENDED LINES AND THE ADJUSTMENT OF THE REGULAR OCTAGONS
+THE DIAGRAM IS COMPLETED.]
+
+[Illustration: 147 IN A CIRCUMFERENCE AS INDICATED INSCRIBE A STAR OF
+NINE POINTS, AND BY SIDES PROLONGED A ROSETTE OF NINE POINTS; IN A
+SECOND A STAR AND ROSETTE OF TWELVE POINTS; AND IN A THIRD CIRCUMFERENCE
+A STAR AND ROSETTE OF TEN POINTS. THE REST FOLLOWS BY EXTENSION.]
+
+[Illustration: 148 THE CENTRAL CIRCUMFERENCE DIVIDED INTO THIRTY-TWO
+EQUAL PARTS PRODUCES A STAR AND ROSETTE OF SIXTEEN POINTS. DIVIDE OTHER
+CIRCUMFERENCES TO PRODUCE STARS AND ROSETTES OF TWELVE AND TEN POINTS.
+THE REST FOLLOWS.]
+
+[Illustration: 149 CIRCUMFERENCES DIVIDED AS INDICATED. INSCRIBE STARS
+OF NINE, TEN, AND TWELVE POINTS.]
+
+[Illustration: 150 NET-WORK ANALOGOUS TO NUMBER 148. THE LINES OF THE
+HEPTAGON, EXTENDED, JOIN THE LINES OF THE ROSETTES.]
+
+[Illustration: 151 THIS EXAMPLE EXHIBITS THE MARVELLOUS INGENUITY OF THE
+ARABIAN DESIGNER IN COMPOSITION, ROSETTES OF FIVE, SIX, SEVEN, AND EIGHT
+POINTS BEING ADJUSTED. THE DESIGN IS EVIDENTLY THE PRODUCTION OF AN
+ART-WORKMAN. IF THE NET-WORK IS NOT ACTUALLY PERFECT, IT APPROACHES
+PERFECTION SO NEARLY THAT IT MAY BE CONSIDERED EXACT.]
+
+[Illustration: 152 ISOCELES OR LOZENGE PLAN. THE ROSETTE OF FOURTEEN
+POINTS RESULT FROM THE EXTENDED LINES OF THE HEPTAGONS.]
+
+[Illustration: 153 ANALOGOUS TO NUMBER 152, BUT WITH DIAGONALS SOMEWHAT
+DIFFERENTLY TREATED.]
+
+[Illustration: 154 ROSETTE OF FOURTEEN POINTS GOVERNED BY HEPTAGONS.]
+
+[Illustration: 155 ROSETTE OF FOURTEEN POINTS FROM EXTENDED LINES OF THE
+HEPTAGONS. THE REST FOLLOWS.]
+
+[Illustration: 156 PENTAGONAL ADJUSTMENT. A CIRCUMFERENCE TANGENT TO
+THOSE OF THE PENTAGON INSCRIBES A STARRED ROSETTE OF FOURTEEN POINTS.]
+
+[Illustration: 157 BY A CONCENTRIC CIRCUMFERENCE IS INSCRIBED THE
+ROSETTE OF FOURTEEN POINTS. THE PENTAGON WHICH GOVERNS HAS ONE OF ITS
+SIDES EXTENDED TO GREATER LENGTH THAN THE SIX OTHERS.]
+
+[Illustration: 158 BY THE AID OF A CIRCUMFERENCE, INDICATED, IS
+INSCRIBED THE HEPTAGONAL STAR FROM WHICH THE OTHER FIGURES PROCEED.]
+
+[Illustration: 159 DECAGONAL STARS AND ROSETTES, WITH INTERCALARY
+PENTAGONS. ALSO WITH INTERCALARY MESHES, WHICH ARE EQUAL TO THOSE OF THE
+ROSETTES.]
+
+[Illustration: 160 ANALOGOUS TO NUMBER 159.]
+
+[Illustration: 161 SUB-DIVIDE THE SPACE SURROUNDING THE ISOCELES
+TRIANGLE AS INDICATED. THE CIRCUMFERENCES BEING DESCRIBED. THE DIAGONALS
+EXTENDED COMPLETE THE FIGURE.]
+
+[Illustration: 162 PLAN AND CIRCUMFERENCES THE SAME AS NUMBER 161. THE
+AID OF A CONCENTRIC CIRCUMFERENCE IS CALLED IN TO FORM THE ROSETTE OF
+TEN POINTS. THE REST FOLLOWS.]
+
+[Illustration: 163 DESCRIBE EQUAL AND TANGENT CIRCUMFERENCES TO FORM A
+STAR OF TEN POINTS, AND TAKE THE DIAGONALS OF SIX IN SIX DIVISIONS.]
+
+[Illustration: 164 DESCRIBE CIRCUMFERENCES AS INDICATED, AND TAKE THE
+DIAGONALS OF SIX IN SIX DIVISIONS. DRAW A HORIZONTAL LINE AT THE HIGHER
+LINE OF THE LITTLE PENTAGON, AND REPEAT THE CONSTRUCTION BELOW THE
+LINE.]
+
+[Illustration: 165 DIVIDE CIRCUMFERENCES AND DRAW PARALLEL LINES AS
+INDICATED. TAKE THE DIAGONALS OF SIX IN SIX DIVISIONS, AND THE REST
+FOLLOWS.]
+
+[Illustration: 166 DESCRIBE CIRCUMFERENCES EQUAL AND TANGENT, AND TAKE
+THE DIAGONALS OF FOUR IN FOUR DIVISIONS; THEN IN THE CONCENTRIC
+CIRCUMFERENCES TAKE THE DIAGONALS OF SIX IN SIX DIVISIONS.]
+
+[Illustration: 167 SUB-DIVIDE AS IN PLAN. INSCRIBE THE ROSETTE OF TEN
+POINTS; THE LITTLE PENTAGONS AND LOZENGES FOLLOW, AND THE REST FOLLOWS.]
+
+[Illustration: 168 ANALOGOUS TO NUMBER 167, BUT IN PLACE OF THE ROSETTE
+STARS ARE FORMED.]
+
+[Illustration: 169 CURVILINEAR TRANSFORMATION OF NUMBERS 167 AND 168.
+THE POINTS OF CENTRAL DISTRIBUTION ARE MARKED BY MINUTE CROSSES.]
+
+[Illustration: 170 SIMILAR GROUND WORK TO THE THREE FOREGOING DIAGRAMS.
+THE LITTLE PENTAGONS GOVERN THE DESIGN.]
+
+[Illustration: 171 DESCRIBE THE CIRCUMFERENCES AS IN PLAN, AND INSCRIBE
+THE DECAGONAL STAR. THE SMALL DECAGONS IN THE CENTRE OF THE TRIANGLES OF
+THE PLAN, BY EXTENDED LINES, FORM THE ROSETTE.]
+
+[Illustration: 172 DIVIDE AS IN PLAN. UPON THE LESSER SIDE TRACE AN
+ISOCELES TRIANGLE. BY THE APEX OF THE TRIANGLE TRACE A CIRCUMFERENCE, IN
+WHICH TAKE THE DIAGONALS OF THREE IN THREE DIVISIONS.]
+
+[Illustration: 173 LOZENGE PLAN, WITH COMBINING LINES. THE LOZENGE IS
+IMAGINARY, AND DOES NOT INDICATE THE RADII IN EXTENSION ONE WITH THE
+OTHER, BUT ONLY THE ORDER OF SUB-DIVISION OF THE PENTAGONAL AND
+DECAGONAL ROSETTES.]
+
+[Illustration: 174 SUB-DIVIDE AS IN PLAN THE SPACE SURROUNDING A POINT
+INTO TWENTY EQUAL PARTS. AT THE MEETING OF THE HORIZONTAL WITH THE
+VERTICAL LINE DRAW A CONCENTRIC CIRCUMFERENCE IN WHICH IS INSCRIBED THE
+STARRED DECAGONAL ROSETTE. THE SMALL PENTAGON IS DOMINANT.]
+
+[Illustration: 174 SAME GROUND-WORK AS NUMBER 172, BUT WITH A GREATER
+INTERVAL BETWEEN THE ROSETTES. ONE OF THE ROSETTES, INSTEAD OF BEING
+RECTILINEAR, IS CURVILINEAR.]
+
+[Illustration: 175 SUB-DIVIDE AS INDICATED. DESCRIBE CIRCUMFERENCES
+EQUAL AND TANGENT, AND TAKE THE DIAGONALS OF FOUR IN FOUR DIVISIONS.
+LASTLY, THE ROSETTES ARE EFFECTED.]
+
+[Illustration: 175’ DRAW CIRCUMFERENCES AND SUB-DIVIDE AS IN PLAN. TAKE
+THE DIAGONALS OF FOUR IN FOUR DIVISIONS, WHICH, PROLONGED, COMPLETE THE
+DESIGN.]
+
+[Illustration: 176 DESCRIBE CIRCUMFERENCES AND TAKE A PERPENDICULAR LINE
+TO THE BORDER OF THE RADIUS; TAKE THE DIAGONALS OF FOUR IN FOUR
+DIVISIONS, WHICH PROLONGED, COMPLETE THE FIGURE.]
+
+[Illustration: 176’ RECTANGLE PLAN OF DIAGONAL SYMMETRY. TAKE THE
+DIAGONALS OF FOUR IN FOUR DIVISIONS. THEN BY A CONCENTRIC CIRCUMFERENCE.
+SET OUT THE ROSETTE. THERE ARE, IN FACT, THREE ROSETTES OF TEN POINTS
+EQUAL AND TANGENT.]
+
+[Illustration: 177 LOZENGE PLAN, WITH COMBINING LINES A CONCENTRIC
+CIRCUMFERENCE DESCRIBES A STAR THE ROSETTE IS THEN DRAWN. THEN
+GRADUALLY, BY THE AID OF THE PENTAGONAL ADJUSTMENT, THE NET-WORK IS
+DESCRIBED.]
+
+[Illustration: 178 LOZENGE PLAN, WHERE THE GREAT AXIS IS THREE TIMES
+THAT OF THE LESSER AXIS. SUB-DIVIDE AS IN PLAN. TRACE CIRCUMFERENCES
+EQUAL AND TANGENT, IN WHICH ARE INSCRIBED REGULAR PENTAGONS. THE REST IS
+EASILY FOLLOWED. THE NET-WORK IS COMPOSED OF FIVE SERIES OF LINES.]
+
+[Illustration: FINIS.]
+
+
+
+
+
+End of Project Gutenberg's Moorish Remains in Spain, by Albert F. Calvert
+
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+
+The Project Gutenberg EBook of Moorish Remains in Spain, by Albert F. Calvert
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: Moorish Remains in Spain
+
+Author: Albert F. Calvert
+
+Release Date: June 18, 2019 [EBook #59776]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MOORISH REMAINS IN SPAIN ***
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+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<p class="figcenter">
+<img src="images/cover.jpg" alt="[Image of
+the book's cover unavailable.]" />
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><span class="smcap">Contents:<br />
+<a href="#CORDOVA">Cordova</a><br />
+<a href="#SEVILLE">Seville</a><br />
+<a href="#TOLEDO">Toledo</a><br />
+<a href="#MOORISH_ORNAMENT">Moorish Ornament</a></span><br /></p>
+
+<p class="c"><span class="smcap"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br />
+<a href="#LIST_OF_COLOURED_PLATES">List of Coloured Plates</a></span><br />
+
+<span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<p class="c">MOORISH REMAINS IN SPAIN</p>
+
+<div class="figcenter"><a name="front" id="front"></a>
+<a href="images/frontispiece_lg.jpg">
+<img src="images/frontispiece_sml.jpg" width="438" height="493" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA.</p>
+
+<p>THE MOSQUE.</p>
+
+<p>Vertical Section of the Dome and Cupola of the Mihrab.</p></div>
+</div>
+
+<div class="figcenter">
+<a href="images/title_lg.jpg">
+<img src="images/title.jpg" alt="[Image unavailable.]" /></a>
+</div>
+
+<h1>
+MOORISH<br />
+REMAINS<br />
+IN SPAIN</h1>
+
+<p class="c">BEING A BRIEF RECORD OF<br />
+THE ARABIAN CONQUEST OF THE<br />
+PENINSULA WITH A PARTICULAR<br />
+ACCOUNT OF THE MOHAMMEDAN<br />
+ARCHITECTURE AND DECORATION<br />
+IN CORDOVA, SEVILLE &amp; TOLEDO<br />
+BY ALBERT F. CALVERT<br />
+<br />
+LONDON: JOHN LANE, THE BODLEY HEAD<br />
+NEW YORK: JOHN LANE COMPANY, MCMVI<br />
+</p>
+
+<p><span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>&nbsp; </p>
+
+<p class="c">E. Goodman and Son, Phœnix Printing Works, Taunton.<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span>&nbsp; </p>
+
+<h2><a name="DEDICATION" id="DEDICATION"></a>DEDICATION</h2>
+
+<p class="c">TO HIS MAJESTY KING ALFONSO XIII.</p>
+
+<p class="c">
+<span class="smcap">Sire</span>,<br />
+</p>
+
+<p>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 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 Majesty’s gracious permission, by</p>
+
+<p class="c">
+Your Majesty’s humble Servant,<br />
+<br />
+<span class="smcap">Albert F. Calvert</span>.</p>
+
+<p><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span>&nbsp; </p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p class="nind"><span class="letra">T</span>HE inception of my work on The Alhambra, to which this book is designed
+to be the companion and complementary volume, was due to the
+disappointing discovery that no such thing as an even moderately
+adequate souvenir of the Red Palace of Granada, “that glorious sanctuary
+of Spain,” was in existence. It was written at a time when I shared the
+very common delusion that the Alhambra was the only word in a vocabulary
+of relics which includes such Arabian superlatives as the Mosque at
+Cordova, the Gates and the Cristo de la Luz of Toledo, and the Alcazar
+at Seville. I had then to learn that while the Alhambra has rightly been
+accepted as the last word on Moorish Art in Spain, it must not be
+regarded as the solitary monument of the splendour and beauty with which
+the Arabs stamped their virile and artistic personality upon Andalus.</p>
+
+<p>In the course of frequent and protracted visits to Spain I came to
+realise that the Moors were not a one-city nation; they did not exhaust
+themselves in a single, isolated effort to achieve the sublimely
+beautiful. Before the Alhambra was conceived in the mind of Mohammed the
+First of Granada, Toledo had been adorned and lost; Cordova, which for
+centuries had commanded the admiration of Europe, had paled and waned
+beside the increasing splendour of Seville; and the “gem of Andalusia”
+itself had been wrested from the Moor by the victorious Ferdinand III.
+But each in turn had been redeemed from Gothic tyranny by the
+art-adoring influence of the Moslem. Their dominion, their politics, and
+their influence is a tale of a day that is dead, but it survives in the
+monuments of their Art, which exist to the glory of Spain and the wonder
+of the world. The Arabian sense of the beautiful sealed itself upon
+Cordova,<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span> and made the city its own; it blended with the joyous spirit
+of Seville; it forced its impress upon the frowning forehead of Toledo.
+To see the Alhambra is not to understand the wonders of the Alcazar; the
+study of Moorish wizardry in Toledo does not reveal, does not even
+prepare one, for the bewildering cunning of the Mosque in Cordova.</p>
+
+<p>In Cordova&mdash;this gay, vivacious overgrown village, which gleams serene
+in a setting of vineyards and orange groves&mdash;the spirit of the Moors
+still breathes. Rome wrested the city from Carthage; the Goths humbled
+it to the dust. But, under the Moors, Cordova became the centre of
+European civilisation, the rival of Baghdad and Damascus as a seat of
+learning, the Athens of the West, and second only in sanctity to the
+Kaaba of Mecca. Its Cathedral first came into being as a temple of
+Janus; it has been both a basilica and a mosque. But the magic art of
+the Mohammedan, which effaced the imprint of the Roman spear, has
+survived the torch of the Holy Inquisition, and to-day Cordova is the
+most exquisitely beautiful Moorish monument in Spain.</p>
+
+<p>In Seville, on the spot where Roman, Visigoth, and Moslem have each in
+turn practised their faith, the Cathedral bells now hang above the
+Arabian tower of the mosque, and the spire of the temple of the faithful
+has become the world-famous Giralda, which dominates the city. Moorish
+fountains and patios are found at Malaga, and Granada, and Toledo, but
+one comes to “La Tierra de Maria Santisima” to see them at their
+loveliest, while the Alcazar is perhaps the best preserved and most
+superbly-decorated specimen of the Moorish citadel-palace that Europe
+has to show.</p>
+
+<p>Menacing, majestic, and magnificent in its strength and splendid
+isolation, Toledo, guarded by its Moorish masonry, a rock built upon a
+rock, has been described by Padilla as “the crown of Spain, the light of
+the world, free from the time of the mighty Goths.” The light of the
+world has dwindled in the socket of modern progress, the Moor has left
+his scars upon the freedom of<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> the Goth; but Toledo, which was old when
+Christianity was born, presents an epitome of the principal arts,
+religions, and races which have dominated the world for the last two
+thousand years.</p>
+
+<p>In the three cities of Cordova, Seville, and Toledo, in which the hand
+of the Moor touched nothing that it did not beautify, I have found the
+supplement to the art wonders that I attempted to describe in my book
+upon the Alhambra; and, encouraged by the cordiality of the welcome
+extended to that volume in Spain and America, as well as in this
+country, I have followed the course which I therein adopted, of making
+the letterpress subservient to the illustrations. While immersed in
+authorities, and tempted often by the beauties of the scenes to indulge
+the desire to emotionalise in words, I have never permitted myself to
+forget that my purpose has been to present a picture rather than to
+chronicle the romance of Spanish-Morisco art.</p>
+
+<p>For the historical data, and some of the descriptions contained in this
+book, I have levied tribute on a large number of authors. Don Pascual de
+Gayángos, the renowned translator of Al-Makkari; the <i>Handbook</i> and the
+<i>Gatherings</i> of Richard Ford; William Stirling-Maxwell’s <i>Don John of
+Austria</i>; <i>The History of the Conquest of Spain</i>, by Henry Coppeé;
+Washington Irving’s <i>Conquest of Granada</i>; Miss Charlotte Yonge’s
+<i>Christians and Moors in Spain</i>; Stanley Lane-Poole’s <i>The Moors in
+Spain</i>; the writings of Dr. R. Dozy, of Leipsic; Muhammed Hayat Khan’s
+<i>Rise and Fall of the Muslim Empire in Spain</i>; Hannah Lynch’s <i>Toledo</i>;
+Walter M. Gallichan’s <i>Seville</i>; <i>The Latin-Byzantine Monuments of
+Cordova</i>; <i>Monumentos Arquitectonicos de España</i>; Pedro de Madrazo’s
+<i>Sevilla</i>&mdash;these, and many less important writers on Spain, have been
+consulted.</p>
+
+<p>But with this wealth of literary material to hand, I have remembered
+that it is my collection of illustrations, rather than on the written
+word, that I must depend. From the nature of Arabian art, and the
+characteristic minuteness of the details of which Morisco decoration is
+composed, lengthy descriptions of architec<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span>ture, unaccompanied by
+illustrations, become not only tedious but positively confusing to the
+reader, while, on the other hand, a sufficiency of illustrations renders
+exhaustive descriptions superfluous. I have striven to do justice to the
+subject in this direction, not without hope of achieving my purpose, but
+with a vast consciousness of the fact that, neither by camera, nor
+brush, nor by the pen, can one reflect, with any fidelity, the effects
+obtained by the Moorish masters of the Middle Ages. In their art we find
+a sense of the mysterious that appeals to one like the glint of
+moonlight on running water; an intangible spirit of joyousness that one
+catches from the dancing shadows of leaves upon a sun-swept lawn; and an
+elusive key to its beauty, which is lost in the bewildering maze of
+traceries and the inextricable network of designs. The form, but not the
+fantasy, of these fairy-like, fascinating decorations may be reproduced,
+and this I have endeavoured to do.</p>
+
+<p class="r">
+A. F. C.<br />
+</p>
+
+<p class="hang">
+<span class="smcap">“Royston,” Hampstead, N. W.</span><br />
+1905.<br />
+<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span></p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+
+<tr><th class="c" colspan="2">CORDOVA</th></tr>
+
+<tr><td>&nbsp;</td><td class="smcap"><small>Page</small></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_001">The Mosque&mdash;Principal Nave of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_9">9</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_002">The Mosque&mdash;Entrance to the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_10">10</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_003">Gates of Pardon</a></td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_004">View of the City and Bridge South of the Guadalquivir</a></td><td class="rt" valign="bottom"><a href="#page_12">12</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_005">General View of the Interior of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_12">12</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_006">Façade and Gate of the Almanzor</a></td><td class="rt" valign="bottom"><a href="#page_13">13</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_007">View of Interior of the Mosque 961-967</a></td><td class="rt" valign="bottom"><a href="#page_14">14</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_008">The Mosque&mdash;Plan in the Time of the Arabs 786-796, 961-967, 988-1001, 1523-1593</a></td><td class="rt" valign="bottom"><a href="#page_15">15</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_009">The Mosque&mdash;Plan in its Present State, 786-796, 961-967, 988-1001, 1523-1593</a></td><td class="rt" valign="bottom"><a href="#page_16">16</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_010">Ancient Arab Tower, now the Church of St. Nicholas de la Villa</a></td><td class="rt" valign="bottom"><a href="#page_25">25</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_011">Orange Court in the Mosque, Moorish Style, Built 957, by Said Ben Ayout</a></td><td class="rt" valign="bottom"><a href="#page_26">26</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_012">Exterior of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_27">27</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_013">The Mosque&mdash;Section of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_28">28</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_014">The Mosque&mdash;Portal on the North Side, Moorish Style, Built Under Hakam III., 988-1001</a></td><td class="rt" valign="bottom"><a href="#page_45">45</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_015">Exterior View of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_47">47</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_016">Exterior Angle of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_49">49</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_017">The Exterior of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_51">51</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_018">The Bridge</a></td><td class="rt" valign="bottom"><a href="#page_55">55</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_019">View of the Mosque and the Bridge</a></td><td class="rt" valign="bottom"><a href="#page_57">57</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_020">Section of the Mosque of Cordova on the Line of the Plan l. m.</a></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_021">Section of the Mosque of Cordova on the Line of the Plan n. o.</a></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_022">The Gates of Pardon</a></td><td class="rt" valign="bottom"><a href="#page_61">61</a>
+
+<span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_023">A View in the Garden Belonging to the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_65">65</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_024">The Mosque&mdash;Lateral Gate</a></td><td class="rt" valign="bottom"><a href="#page_67">67</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_025">Interior of the Mosque, or Cathedral</a></td><td class="rt" valign="bottom"><a href="#page_69">69</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_026">Interior of the Mosque, Moorish Style, Built 961-967. Under Hakam II.</a></td><td class="rt" valign="bottom"><a href="#page_71">71</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_027">The Mosque</a></td><td class="rt" valign="bottom"><a href="#page_75">75</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_028">The Mosque&mdash;Interior View</a></td><td class="rt" valign="bottom"><a href="#page_77">77</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_029">Interior View of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_79">79</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_030">The Mosque&mdash;General View of the Interior</a></td><td class="rt" valign="bottom"><a href="#page_81">81</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_031">The Central Nave of the Mosque&mdash;961-967</a></td><td class="rt" valign="bottom"><a href="#page_85">85</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_032">The Mosque&mdash;Chief Entrance</a></td><td class="rt" valign="bottom"><a href="#page_87">87</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_033">Interior View of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#page_89">89</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_034">Interior of the Mosque&mdash;Lateral Nave</a></td><td class="rt" valign="bottom"><a href="#page_91">91</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_035">Interior of the Mosque&mdash;East Side</a></td><td class="rt" valign="bottom"><a href="#page_91">91</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_036">The Mosque&mdash;Detail of the Gate</a></td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_037">The Mosque&mdash;Façade of the Almanzor</a></td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_038">View in the Mosque&mdash;961-967</a></td><td class="rt" valign="bottom"><a href="#page_97">97</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_039">The Mosque&mdash;A Gate on one of the Lateral Sides</a></td><td class="rt" valign="bottom"><a href="#page_99">99</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_040">The Mosque&mdash;Side of the Captive’s Column</a></td><td class="rt" valign="bottom"><a href="#page_101">101</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_041">Mosque, North Side&mdash;Exterior of the Chapel of St. Pedro</a></td><td class="rt" valign="bottom"><a href="#page_105">105</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_042">General View of the Interior of the Chapel of the Masura and St. Ferdinand</a></td><td class="rt" valign="bottom"><a href="#page_107">107</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_043">Detail of the Chapel of Masura</a></td><td class="rt" valign="bottom"><a href="#page_109">109</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_044">The Mosque&mdash;Elevation of the Gate of the Sanctuary of the Koran</a></td><td class="rt" valign="bottom"><a href="#page_111">111</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_045">The Mosque&mdash;Gate of the Sanctuary of the Koran</a></td><td class="rt" valign="bottom"><a href="#page_115">115</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_046">The Mosque&mdash;Mosaic Decoration of the Sanctuary, 965-1001</a></td><td class="rt" valign="bottom"><a href="#page_117">117</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_047">The Mosque&mdash;Right-hand Side Gate Within the Precincts of the Maksurrah</a></td><td class="rt" valign="bottom"><a href="#page_119">119</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_048">The Mosque&mdash;Section of the Cupola of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_121">121</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_049">The Mosque&mdash;Dome of the Sanctuary</a></td><td class="rt" valign="bottom"><a href="#page_125">125</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_050">The Mosque&mdash;Roof of the Chapel of the Masura and St. Ferdinand</a></td><td class="rt" valign="bottom"><a href="#page_127">127</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_051">Villaviciosa Chapel</a></td><td class="rt" valign="bottom"><a href="#page_129">129</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_052">The Mosque&mdash;Detail of the Hall of Chocolate</a></td><td class="rt" valign="bottom"><a href="#page_131">131</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_053">Entrance to the Vestibule of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_135">135</a>
+
+<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_054">Mihrab or Sanctuary of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_137">137</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_055">The Mosque&mdash;Arch and Front of the Abd-er-Rahman and Mihrab Chapels</a></td><td class="rt" valign="bottom"><a href="#page_139">139</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_056">Entrance to the Chapel of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_141">141</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_057">View of the Interior of the Mihrab Chapel</a></td><td class="rt" valign="bottom"><a href="#page_145">145</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_058">The Mosque&mdash;Details of the Interior of the Chapel of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_147">147</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_059">The Mosque&mdash;Marble Socle in the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_149">149</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_060">Basement Panel of the Façade of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_151">151</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_061">The Mosque&mdash;Front of the Trastamara Chapel</a></td><td class="rt" valign="bottom"><a href="#page_155">155</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_062">General View of the Chapel of Villaviciosa</a></td><td class="rt" valign="bottom"><a href="#page_157">157</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_063">North Angle of the Chapel of Villaviciosa</a></td><td class="rt" valign="bottom"><a href="#page_159">159</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_064">Villaviciosa Chapel</a></td><td class="rt" valign="bottom"><a href="#page_161">161</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_065">The Mosque&mdash;Chapel of Villaviciosa</a></td><td class="rt" valign="bottom"><a href="#page_165">165</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_066">Arab Tribune, To-day the Chapel of Villaviciosa, Left Side</a></td><td class="rt" valign="bottom"><a href="#page_167">167</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_067">Ancient Inscription of the Time of Khalifate, Found in an Excavation</a></td><td class="rt" valign="bottom"><a href="#page_169">169</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_068">The Mosque&mdash;Chapel of Trastamara, South Side</a></td><td class="rt" valign="bottom"><a href="#page_171">171</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_069">The Mosque&mdash;Detail of the Trastamara Chapel</a></td><td class="rt" valign="bottom"><a href="#page_171">171</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_070">The Mosque&mdash;Interior of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_175">175</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_071">The Mosque&mdash;Arab Arcade Above the First Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_175">175</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_072">The Mosque&mdash;Details, Arches of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_177">177</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_073">The Mosque&mdash;Detail of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_177">177</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_074">The Mosque&mdash;Exterior of the Chapel of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_179">179</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_075">The Mosque&mdash;Gate of the Sultan</a></td><td class="rt" valign="bottom"><a href="#page_179">179</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_076">Principal Entrance to the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_181">181</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_077">The Mosque&mdash;Detail Near the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_181">181</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_078">The Gates of Pardon</a></td><td class="rt" valign="bottom"><a href="#page_185">185</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_079">The Bishop’s Gate</a></td><td class="rt" valign="bottom"><a href="#page_185">185</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_080">The Mosque&mdash;Pilasters and Arabian Baths</a></td><td class="rt" valign="bottom"><a href="#page_187">187</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_081">Inscriptions and Arabian Chapters</a></td><td class="rt" valign="bottom"><a href="#page_191">191</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_082">The Mosque&mdash;A Cufic Inscription in the Place Appropriated to the Performance of Ablutions</a></td><td class="rt" valign="bottom"><a href="#page_193">193</a>
+
+<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_083">Arabic Inscriptions</a></td><td class="rt" valign="bottom"><a href="#page_195">195</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_084">A Cufic Inscription on the Additions Made to the Mosque, by Order of the Khalif Al-Hakam</a></td><td class="rt" valign="bottom"><a href="#page_197">197</a></td></tr>
+
+<tr><td valign="top" class="indd"><a href="#ill_085"><span class="smcap">The Bridge Across the Guadalquivir, with a View of the Cathedral (Mezquita). The Scene as it Appeared in 1780. From</span> <i>Antigüedades Arabes de España</i>. <span class="smcap">Madrid</span>, 1780, fol.</a></td><td class="rt" valign="bottom"><a href="#page_201">201</a></td></tr>
+
+<tr><td valign="top" class="indd"><a href="#ill_086"><span class="smcap">View of Cordova Cathedral (Mezquita), as it Appeared in 1780. From </span><i>Antigüedades Arabes de España</i>. <span class="smcap">Madrid, 1780, fol.</span></a></td><td class="rt" valign="bottom"><a href="#page_203">203</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_087">Wall of the Mosque</a></td><td class="rt" valign="bottom"><a href="#page_205">205</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_088">Façade of the Mihrab</a></td><td class="rt" valign="bottom"><a href="#page_207">207</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_089">The Mosque&mdash;Arch of one of the Gates</a></td><td class="rt" valign="bottom"><a href="#page_211">211</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_090">The Mosque&mdash;Lattice</a></td><td class="rt" valign="bottom"><a href="#page_213">213</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_091">The Mosque&mdash;Ornamental Arched Window</a></td><td class="rt" valign="bottom"><a href="#page_217">217</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_092">The Mosque&mdash;Capitals of the Entrance Arch</a></td><td class="rt" valign="bottom"><a href="#page_219">219</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_093">Details of the Frieze</a></td><td class="rt" valign="bottom"><a href="#page_221">221</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_094">Plan</a></td><td class="rt" valign="bottom"><a href="#page_221">221</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_095">Keystone of Ornamental Arch</a></td><td class="rt" valign="bottom"><a href="#page_221">221</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_096">Details of the Cornice</a></td><td class="rt" valign="bottom"><a href="#page_223">223</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_097">Capital of Arch</a></td><td class="rt" valign="bottom"><a href="#page_227">227</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_098">Side View of the Cornice</a></td><td class="rt" valign="bottom"><a href="#page_227">227</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_099">Bases</a></td><td class="rt" valign="bottom"><a href="#page_227">227</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_100">East Façade, Without the Portico</a></td><td class="rt" valign="bottom"><a href="#page_229">229</a></td></tr>
+
+<tr><th class="c" colspan="2">SEVILLE</th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_101">Façade of the Alcazar</a></td><td class="rt" valign="bottom"><a href="#page_241">241</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_102">Alcazar&mdash;Gates of the Principal Entrance</a></td><td class="rt" valign="bottom"><a href="#page_243">243</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_103">Façade of the Alcazar</a></td><td class="rt" valign="bottom"><a href="#page_247">247</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_104">Chief Entrance to the Alcazar, Moorish Style, Built Under Don Pedro I. the Cruel, 1369-1379</a></td><td class="rt" valign="bottom"><a href="#page_249">249</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_105">Alcazar&mdash;Principal Façade</a></td><td class="rt" valign="bottom"><a href="#page_253">253</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_106">Interior Court of the Alcazar</a></td><td class="rt" valign="bottom"><a href="#page_255">255</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_107">Alcazar&mdash;Arcade in the Principal Court</a></td><td class="rt" valign="bottom"><a href="#page_259">259</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_108">Alcazar&mdash;View of the Interior</a></td><td class="rt" valign="bottom"><a href="#page_261">261</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_109">Alcazar&mdash;Court of the Dolls</a></td><td class="rt" valign="bottom"><a href="#page_265">265</a>
+
+<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_110">Alcazar&mdash;Court of the Dolls, Moorish Style, Built 1369-1379</a></td><td class="rt" valign="bottom"><a href="#page_267">267</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_111">Alcazar&mdash;The Court of the Dolls</a></td><td class="rt" valign="bottom"><a href="#page_271">271</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_112">Alcazar&mdash;Right Angle of the Court of the Dolls</a></td><td class="rt" valign="bottom"><a href="#page_273">273</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_113">Alcazar&mdash;Court of the Dolls</a></td><td class="rt" valign="bottom"><a href="#page_277">277</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_114">Alcazar&mdash;Upper Part of the Court of the Dolls</a></td><td class="rt" valign="bottom"><a href="#page_279">279</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_115">Alcazar&mdash;Upper Portions of the Court of the Dolls</a></td><td class="rt" valign="bottom"><a href="#page_283">283</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_116">Alcazar&mdash;Court of the Dolls</a></td><td class="rt" valign="bottom"><a href="#page_285">285</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_117">Alcazar&mdash;The Little Court</a></td><td class="rt" valign="bottom"><a href="#page_289">289</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_118">Alcazar&mdash;View in the Little Court</a></td><td class="rt" valign="bottom"><a href="#page_291">291</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_119">Alcazar&mdash;View of the Hall of Ambassadors from the Little Court</a></td><td class="rt" valign="bottom"><a href="#page_295">295</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_120">Alcazar&mdash;Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#page_297">297</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_121">Alcazar&mdash;Interior of the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#page_301">301</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_122">Alcazar&mdash;The Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#page_303">303</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_123">Alcazar&mdash;Throne of Justice</a></td><td class="rt" valign="bottom"><a href="#page_307">307</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_124">Alcazar&mdash;Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#page_307">307</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_125">Alcazar&mdash;Façade of the Court of the Virgins</a></td><td class="rt" valign="bottom"><a href="#page_309">309</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_126">Alcazar&mdash;Interior of the Court of the Virgins, Moorish Style, Built 1369-1379</a></td><td class="rt" valign="bottom"><a href="#page_313">313</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_127">Alcazar&mdash;General View of the Court of the Hundred Virgins</a></td><td class="rt" valign="bottom"><a href="#page_315">315</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_128">Alcazar&mdash;Court of the Hundred Virgins</a></td><td class="rt" valign="bottom"><a href="#page_319">319</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_129">Alcazar&mdash;Court of the Virgins</a></td><td class="rt" valign="bottom"><a href="#page_321">321</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_130">Alcazar&mdash;Gallery in the Court of the Hundred Virgins</a></td><td class="rt" valign="bottom"><a href="#page_325">325</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_131">Alcazar&mdash;The Sultana’s Apartment and Court of the Virgins</a></td><td class="rt" valign="bottom"><a href="#page_327">327</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_132">Alcazar&mdash;Entrance to the Sleeping Saloon of the Moorish Kings</a></td><td class="rt" valign="bottom"><a href="#page_331">331</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_133">Alcazar&mdash;Dormitory of the Kings</a></td><td class="rt" valign="bottom"><a href="#page_333">333</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_134">Alcazar&mdash;The Dormitory</a></td><td class="rt" valign="bottom"><a href="#page_337">337</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_135">Alcazar&mdash;Front of the Sleeping Saloon of the Moorish Kings</a></td><td class="rt" valign="bottom"><a href="#page_339">339</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_136">Alcazar&mdash;Sleeping Saloon of the Moorish Kings</a></td><td class="rt" valign="bottom"><a href="#page_339">339</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_137">Alcazar&mdash;Room of the Infanta</a></td><td class="rt" valign="bottom"><a href="#page_343">343</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_138">Alcazar&mdash;Columns where Don Fadrique was Murdered</a></td><td class="rt" valign="bottom"><a href="#page_345">345</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_139">Alcazar&mdash;Gate of the Hall of San Fernando</a></td><td class="rt" valign="bottom"><a href="#page_349">349</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_140">Alcazar&mdash;Gallery of Hall of San Fernando</a></td><td class="rt" valign="bottom"><a href="#page_349">349</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_141">Alcazar&mdash;Hall in which King San Fernando Died</a></td><td class="rt" valign="bottom"><a href="#page_351">351</a>
+
+<span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_142">Alcazar&mdash;Room of the Prince</a></td><td class="rt" valign="bottom"><a href="#page_355">355</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_143">Alcazar&mdash;View of the Gallery from the Second Floor</a></td><td class="rt" valign="bottom"><a href="#page_357">357</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_144">Tower of the Giralda</a></td><td class="rt" valign="bottom"><a href="#page_361">361</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_145">Details of the Giralda Tower</a></td><td class="rt" valign="bottom"><a href="#page_363">363</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_146">Court of the House of Pilatos</a></td><td class="rt" valign="bottom"><a href="#page_367">367</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_147">Court of the House of Pilatos</a></td><td class="rt" valign="bottom"><a href="#page_369">369</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_148">House of Pilatos&mdash;View in the Court by the Door of the Chapel</a></td><td class="rt" valign="bottom"><a href="#page_373">373</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_149">House of Pilatos&mdash;Chapel</a></td><td class="rt" valign="bottom"><a href="#page_375">375</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_150">Gallery of the House of Pilatos</a></td><td class="rt" valign="bottom"><a href="#page_376">376</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_151">Gallery of the Court of the House of Pilatos</a></td><td class="rt" valign="bottom"><a href="#page_381">381</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_152">Court of the Palace of Medina-Cœli</a></td><td class="rt" valign="bottom"><a href="#page_385">385</a></td></tr>
+
+<tr><th class="c" colspan="2">TOLEDO</th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_153">Santa Maria la Blanca&mdash;Interior, 1100-1150</a></td><td class="rt" valign="bottom"><a href="#page_395">395</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_154">The Gate of Blood</a></td><td class="rt" valign="bottom"><a href="#page_399">399</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_155">Interior of Santa Maria la Blanca</a></td><td class="rt" valign="bottom"><a href="#page_405">405</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_156">Gate of the Sun</a></td><td class="rt" valign="bottom"><a href="#page_409">409</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_157">Door of the Hall of Mesa</a></td><td class="rt" valign="bottom"><a href="#page_413">413</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_158">Exterior of the Chapel of Christo de la Vega</a></td><td class="rt" valign="bottom"><a href="#page_413">413</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_159">Ancient Gate of Visagra</a></td><td class="rt" valign="bottom"><a href="#page_419">419</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_160">Castle of St. Servando</a></td><td class="rt" valign="bottom"><a href="#page_419">419</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_161">Moorish Sword</a></td><td class="rt" valign="bottom"><a href="#page_423">423</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_162">Arab Fragment at Tarragona</a></td><td class="rt" valign="bottom"><a href="#page_429">429</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#ill_163">Ancient Arabian Baths at Palma, Majorca</a></td><td class="rt" valign="bottom"><a href="#page_435">435</a></td></tr>
+
+<tr><th class="c" colspan="2">MOORISH DESIGNS AND ORNAMENTS</th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#page_447">Designs and Ornaments</a></td><td class="rt" valign="bottom"><a href="#page_447">447-494</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#page_495">Description of the Plates&mdash;Hexagonal Family</a></td><td class="rt" valign="bottom"><a href="#page_495">495-586</a></td></tr>
+
+</table>
+
+<p><span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></p>
+
+<h2><a name="LIST_OF_COLOURED_PLATES" id="LIST_OF_COLOURED_PLATES"></a>LIST OF COLOURED PLATES</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+
+<tr><td class="rt"><span class="smcap">Plate.</span></td><td><span class="smcap">Description.</span></td></tr>
+
+<tr><td>&nbsp;</td> <td class="smcap" valign="top"><a href="#front">Frontispiece&mdash;Vertical Section of the Dome and Cupola of the Mihrab. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_I">I.</a></td><td class="smcap"><a href="#plt_I">Shell-like Ornaments in the Cupola of the Mihrab. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_II">II.</a></td><td class="smcap"><a href="#plt_II">Shell-like Ornaments in the Cupola of the Mihrab. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_III">III.</a></td><td class="smcap"><a href="#plt_III">Shell-like Ornaments in the Cupola of the Mihrab. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_IV">IV.</a></td><td class="smcap"><a href="#plt_IV">Part of the Ornamentation and Keystone of one of the Lower Arches, which gives Light to the Dome. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_IV">IV.</a></td><td class="smcap"><a href="#plt_IV">Ring of the Cupola.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_V">V.</a></td><td class="smcap"><a href="#plt_V">Curvilineal Triangles, resulting from the Intersection of the Arches sustaining the Dome. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_V">V.</a></td><td class="smcap"><a href="#plt_V">Setting of the Arches sustaining the Dome. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_VI">VI.</a></td><td class="smcap"><a href="#plt_VI">Ornament running below the Cupola. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_VI">VI.</a></td><td class="smcap"><a href="#plt_VI">Setting of one of the Lower Arches, which gives Light to the Dome. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_VII">VII.</a></td><td class="smcap"><a href="#plt_VII">Curvilineal Triangles, resulting from the Intersection of the Arches sustaining the Dome.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_VII">VII.</a></td><td class="smcap"><a href="#plt_VII">Architrave of one of the Arches sustaining the Dome. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_VIII">VIII.</a></td><td class="smcap"><a href="#plt_VIII">Details of the Gate of the Maksurrah. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_IX">IX.</a></td><td class="smcap"><a href="#plt_IX">Arches of the Portal of the Mihrab. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_X">X.</a></td><td class="smcap"><a href="#plt_X">Detail of the Framing of the Side Gate. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_X">X.</a></td><td class="smcap"><a href="#plt_X">Detail of the Window placed over the Side Door. Cordova.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_X">X.</a></td><td class="smcap"><a href="#plt_X">Detail of the Framing of the Arch of the Mihrab.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XI">XI.</a></td><td class="smcap"><a href="#plt_XI">Windows in an Alcove.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XII">XII.</a></td><td class="smcap"><a href="#plt_XII">Arab Vase of Metallic Lustre.</a><span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XIII">XIII.</a></td><td class="smcap"><a href="#plt_XIII">Details of the Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XIV">XIV.</a></td><td class="smcap"><a href="#plt_XIV">Centre Painting on a Ceiling.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XV">XV.</a></td><td class="smcap"><a href="#plt_XV">Divan.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XVI">XVI.</a></td><td class="smcap"><a href="#plt_XVI">Detail of an Arch.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XVII">XVII.</a></td><td class="smcap"><a href="#plt_XVII">Gate of the Murada.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XVIII">XVIII.</a></td><td class="smcap"><a href="#plt_XVIII">Details of the Mihrab.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XVIII">XVIII.</a></td><td class="smcap"><a href="#plt_XVIII">Detail of one of the Arches of the Cupola.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XVIII">XVIII.</a></td><td class="smcap"><a href="#plt_XVIII">Mosaic Keystones of the Great Arch of the Mihrab.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XIX">XIX.</a></td><td class="smcap"><a href="#plt_XIX">Details, Villaviciosa Chapel and Mihrab.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XX">XX.</a></td><td class="smcap"><a href="#plt_XX">Details of the Interior of the Mosque.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXI">XXI.</a></td><td class="smcap"><a href="#plt_XXI">Details of the Interior of the Mosque.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXII">XXII.</a></td><td class="smcap"><a href="#plt_XXII">Details of Moorish Work.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXIII">XXIII.</a></td><td class="smcap"><a href="#plt_XXIII">Details, Villaviciosa Chapel and Mihrab.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXIV">XXIV.</a></td><td class="smcap"><a href="#plt_XXIV">Details of Moorish Work.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXV">XXV.</a></td><td class="smcap"><a href="#plt_XXV">Frieze in the Hall of Ambassadors. Seville.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXV">XXV.</a></td><td class="smcap"><a href="#plt_XXV">Stucco Work in the Hall of Ambassadors. Seville.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXV">XXV.</a></td><td class="smcap"><a href="#plt_XXV">Mosaic in the Large Court. Seville.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXV">XXV.</a></td><td class="smcap"><a href="#plt_XXV">Mosaic in the Large Court. Seville.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXVI">XXVI.</a></td><td class="smcap"><a href="#plt_XXVI">Hall of Ambassadors&mdash;Details. Seville.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXVII">XXVII.</a></td><td class="smcap"><a href="#plt_XXVII">Hall of Ambassadors&mdash;Details. Seville.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXVIII">XXVIII.</a></td><td class="smcap"><a href="#plt_XXVIII">Hall of Ambassadors&mdash;Details. Seville.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXIX">XXIX.</a></td><td class="smcap"><a href="#plt_XXIX">Blank Window.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXX">XXX.</a></td><td class="smcap"><a href="#plt_XXX">Soffit of Arch.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXI">XXXI.</a></td><td class="smcap"><a href="#plt_XXXI">Cornice at Springing of Arch of Doorway at one of the Entrances.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXII">XXXII.</a></td><td class="smcap"><a href="#plt_XXXII">Borders of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXIII">XXXIII.</a></td><td class="smcap"><a href="#plt_XXXIII">Borders of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXIV">XXXIV.</a></td><td class="smcap"><a href="#plt_XXXIV">Border of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXV">XXXV.</a></td><td class="smcap"><a href="#plt_XXXV">Ornament in Panels on the Wall.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXVI">XXXVI.</a></td><td class="smcap"><a href="#plt_XXXVI">Bands, Side of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXVII">XXXVII.</a></td><td class="smcap"><a href="#plt_XXXVII">Bands, Side of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXVIII">XXXVIII.</a></td><td class="smcap"><a href="#plt_XXXVIII">Ornaments on Panels.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XXXIX">XXXIX.</a></td><td class="smcap"><a href="#plt_XXXIX">Ornaments on Panels.</a><span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XL">XL.</a></td><td class="smcap"><a href="#plt_XL">Ornaments on Panels.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLI">XLI.</a></td><td class="smcap"><a href="#plt_XLI">Ornaments on Panels</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLII">XLII.</a></td><td class="smcap"><a href="#plt_XLII">Frieze in the Upper Chamber, House of Sanchez.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLIII">XLIII.</a></td><td class="smcap"><a href="#plt_XLIII">Cornice at Springing of Arches in a Window.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLIV">XLIV.</a></td><td class="smcap"><a href="#plt_XLIV">Panels on Walls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLV">XLV.</a></td><td class="smcap"><a href="#plt_XLV">Spandrils of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLVI">XLVI.</a></td><td class="smcap"><a href="#plt_XLVI">Spandrils of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLVII">XLVII.</a></td><td class="smcap"><a href="#plt_XLVII">Spandrils of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLVIII">XLVIII.</a></td><td class="smcap"><a href="#plt_XLVIII">Plaster Ornaments, used as Upright and Horizontal Bands enclosing Panels on the Walls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_XLIX">XLIX.</a></td><td class="smcap"><a href="#plt_XLIX">Blank Window.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_L">L.</a></td><td class="smcap"><a href="#plt_L">Rafters of a Roof over a Doorway, now destroyed, beneath the Tocador de la Reyna.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LI">LI.</a></td><td class="smcap"><a href="#plt_LI">Band at Springing of Arch at the Entrance to one of the Halls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LII">LII.</a></td><td class="smcap"><a href="#plt_LII">Panelling of a Recess.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LIII">LIII.</a></td><td class="smcap"><a href="#plt_LIII">Blank Window.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LIV">LIV.</a></td><td class="smcap"><a href="#plt_LIV">Ornaments on the Walls, House of Sanchez.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LV">LV.</a></td><td class="smcap"><a href="#plt_LV">Ornament in Panels on the Walls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LVI">LVI.</a></td><td class="smcap"><a href="#plt_LVI">Ornaments in Spandrils of Arches.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LVII">LVII.</a></td><td class="smcap"><a href="#plt_LVII">Mosaic Dado in a Window, &amp;c.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LVIII">LVIII.</a></td><td class="smcap"><a href="#plt_LVIII">Mosaic Dados on Pillars.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LIX">LIX.</a></td><td class="smcap"><a href="#plt_LIX">Mosaic Dados on Pillars.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LX">LX.</a></td><td class="smcap"><a href="#plt_LX">Mosaics.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXI">LXI.</a></td><td class="smcap"><a href="#plt_LXI">Mosaic Dado round the Internal Walls of the Mosque.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXII">LXII.</a></td><td class="smcap"><a href="#plt_LXII">Painted Tiles.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXIII">LXIII.</a></td><td class="smcap"><a href="#plt_LXIII">Mosaics.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXIV">LXIV.</a></td><td class="smcap"><a href="#plt_LXIV">Mosaics.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXV">LXV.</a></td><td class="smcap"><a href="#plt_LXV">Ornaments in Panels.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXVI">LXVI.</a></td><td class="smcap"><a href="#plt_LXVI">Ornament over Arches at one of the Entrances.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXVII">LXVII.</a></td><td class="smcap"><a href="#plt_LXVII">Ornament on the Walls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXVIII">LXVIII.</a></td><td class="smcap"><a href="#plt_LXVIII">Ornament in Panels on the Walls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXIX">LXIX.</a></td><td class="smcap"><a href="#plt_LXIX">Small Panel in Jamb of a Window.</a><span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXX">LXX.</a></td><td class="smcap"><a href="#plt_LXX">Small Panel in Jamb of a Window.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXI">LXXI.</a></td><td class="smcap"><a href="#plt_LXXI">Panel in the Upper Chamber of the House of Sanchez.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXII">LXXII.</a></td><td class="smcap"><a href="#plt_LXXII">Spandril from Niche of Doorway at one of the Entrances.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXIII">LXXIII.</a></td><td class="smcap"><a href="#plt_LXXIII">Lintel of a Doorway.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXIV">LXXIV.</a></td><td class="smcap"><a href="#plt_LXXIV">Capital of Columns.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXV">LXXV.</a></td><td class="smcap"><a href="#plt_LXXV">Capital of Columns.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXVI">LXXVI.</a></td><td class="smcap"><a href="#plt_LXXVI">Capital of Columns.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXVII">LXXVII.</a></td><td class="smcap"><a href="#plt_LXXVII">Socle of the Entrance Arch to the Ante-chapel.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXVIII">LXXVIII.</a></td><td class="smcap"><a href="#plt_LXXVIII">Socle of the Entrance Arch to the Chapel.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXIX">LXXIX.</a></td><td class="smcap"><a href="#plt_LXXIX">Detail of the Tiles of the Altar.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXX">LXXX.</a></td><td class="smcap"><a href="#plt_LXXX">Socle in the Interior of the Chapel.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXXI">LXXXI.</a></td><td class="smcap"><a href="#plt_LXXXI">Socle in the Interior of the Chapel.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXXII">LXXXII.</a></td><td class="smcap"><a href="#plt_LXXXII">Mosaics from various Halls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXXIII">LXXXIII.</a></td><td class="smcap"><a href="#plt_LXXXIII">Mosaics from various Halls.</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#plt_LXXXIV">LXXXIV.</a></td><td class="smcap"><a href="#plt_LXXXIV">Part of Ceiling of a Portico.</a></td></tr>
+
+</table>
+
+<p><span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h1>MOORISH REMAINS IN SPAIN</h1>
+
+<h2><a name="INTRODUCTORY" id="INTRODUCTORY"></a>INTRODUCTORY</h2>
+
+<p class="nind"><span class="letra">T</span>HE conquest of Spain by the Moors, and the story comprised in the eight
+centuries during which they wielded sovereignty as a European power,
+forms a romance that is without parallel in the history of the world.
+Under Mohammedan rule Spain enjoyed the first and most protracted period
+of comparative peace and material prosperity she had ever known. She had
+been plundered by Carthage and Phœnicia, ground beneath the iron heel of
+Rome, devastated and enslaved by those Christianised but corrupt
+barbarians, the Visigoths. All the evils and demoralisation arising from
+successive waves of bloody conquest and decadent voluptuousness had been
+sown in the breast of Spain. The squandered might of Carthage had left
+the country a prey to the vigorous Roman; the degenerate Roman had been
+banished by the rugged, victorious Goth, who, after two centuries of
+security and sensual ease, was to be made subject to the warlike and
+enlightened Moor. Once more the land was to be overrun and the face of
+the country was to be scarred with fire and the sword; once more the
+people were to learn to serve new masters and conform to new laws. Of a
+truth the last state must have seemed worse than the first to the
+Romanised Spaniards. Carthage had brought chains, but it had also
+introduced artificers and a form of Government; the Roman eagles had
+been accompanied by Roman engineers and road-builders; the Goths erected
+upon the broken altars of mythology temples to the living God. But it
+now seemed that the whips of ancient foes were to be replaced by the<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span>
+scorpions of their new taskmasters; the Christianity which the East had
+sent them was to be uprooted by the Eastern infidels.</p>
+
+<p>Such must have been the prospect before Spain, and even before the rest
+of Europe, when Tarik returned in 710 to Ceuta, from a marauding
+expedition upon the coast of Andalusia, and reported to Musa, the son of
+Noseyr, the Arab Governor of North Africa, that the country was ripe for
+conquest and well worth the hazard of the cast. Twenty years later the
+Moslems had overrun Spain, captured Bordeaux by assault and advanced to
+the conquest of Gaul. It is passing strange to reflect that these
+far-reaching, epoch-making events had not been undertaken as the result
+of a deep-laid scheme of national expansion or religious enterprise.
+According to tradition the foundation of the Moslem supremacy in Spain
+was instigated by the hatred of a single traitor, Count Julian, the
+Governor of Ceuta, and his treachery was inspired by the dishonour of
+one young girl&mdash;Julian’s daughter, Florinda.</p>
+
+<p>At the beginning of the eighth century, when the Moors had extended
+their possessions up to the walls of Ceuta, which was held for Roderick,
+King of Spain, by Count Julian, the Count, in accordance with the custom
+among the Gothic nobility, had sent his daughter to the Court of
+Roderick, at Toledo, to be educated among the Queen’s gentlewomen in a
+manner befitting her rank and lineage. The rest is the old story of a
+beautiful, unprotected girl, a lascivious guardian, and a father
+thirsting for vengeance. So far Count Julian had defended Ceuta against
+the Moors with unbroken success, now he came to Toledo to relieve the
+king of the custody of his daughter, and repay the breach of trust which
+Roderick had committed by making a compact with the king’s enemies. On
+the eve of his departure from<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> the capital, the king requested the Count
+to send him some hawks of a special variety that he desired for hunting
+purposes, and the vengeful noble pledged himself to supply his master
+with hawks, the like of which he had never seen.</p>
+
+<p>But Count Julian found the Saracenic hawks less keen for the hunting he
+had in view than he expected. That old bird of prey, Musa, listened to
+the alluring tales of the richness and beauty of Spain, but doubted the
+good faith of his long-time enemy, who proposed that the Moors should
+invade this promised land in Spanish ships, lent to them for the
+purpose. But the love of conquest and the lust of loot, which had
+inspired and sustained the Arab arms in all their territorial campaigns,
+overcame the natural hesitancy of the Moorish Governor, and in 710 Musa
+despatched Tarik with a small expedition to spy out the state of the
+Spanish coast. So successful was the mission, and so rich the plunder
+they brought back, that in the following year he adventured an army of
+7,000 men under Tarik for the spoliation of Andalusia. Tarik, who landed
+at the rock of Gibraltar&mdash;Gebal Tarik, which still bears his
+name&mdash;captured Carteya, and encountered the army of Roderick, who had
+hurried from the North of his dominions to repel the invaders, on the
+banks of the Guadalete.</p>
+
+<p>Washington Irving, in the <i>Conquest of Spain</i>, has related, in his
+brilliantly picturesque style, the old legend of the prophecy of
+Roderick’s overthrow and the mystery surrounding his death. The king was
+proof against the solemn warnings of the old warders of the tower of
+Hercules,&mdash;the tower of “jasper and marble, inlaid in subtle devices,
+which shone in the rays of the sun,”&mdash;wherein lay the secret of Spain’s
+future, sealed by a magic spell, and guarded by a massive iron gate, and
+secured by the locks affixed to it by every successive Spanish king
+since the days of Hercules.<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> Roderick came not to set a new lock upon
+the gate, but to burst the bolts of the centuries and reveal the mystery
+that his predecessors had gone down into their graves without solving.
+All day long his courtiers urged him vainly against his own undoing, and
+the custodians laboured at the rusty locks, and at evening he entered
+the mighty, outer hall, rushed past the bronze warder, penetrated the
+inner chamber, and read the inscription attached to the casket, which
+Hercules had deposited in the gem-encrusted tower. “In this coffer is
+the mystery of the Tower. The hand of none but a King can open it; but
+let him beware, for wonderful things will be disclosed to him, which
+must happen before his death.” In a moment the lid is prized open, the
+parchment, folded between plates of copper, is brought into the light of
+day, and the king has read the motto inscribed upon the border: “Behold,
+rash man, those who shall hurl thee from thy throne and subdue thy
+Kingdom.”</p>
+
+<p>Beneath the motto is drawn a panorama of horsemen, fierce of
+countenance, armed with bows and scimitars. As the king gazes
+wonderingly upon the picture, the sound of warfare rushes on his ear,
+the chamber is filled with a cloud, and in the cloud the horsemen bend
+forward in their saddles and raise their arms to strike. Amazed and
+terrorised, Roderick and his courtiers drew back and “beheld before them
+a great field of battle, where Christians and Moors were engaged in
+deadly conflict. They heard the rush and tramp of steeds, the blast of
+trump and clarion, the clash of cymbal, and the stormy din of a thousand
+drums. There was the flash of swords and maces and battle axes, with the
+whistling of arrows and hurling of darts and lances. The Christian
+quailed before the foe. The infidels pressed upon them, and put them to
+utter rout; the standard of the Cross was cast down, the banner of Spain
+was trodden under foot,<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> the air resounded with shouts of triumph, with
+yells of fury, and the groans of dying men. Amidst the flying squadrons,
+King Roderick beheld a crowned warrior, whose back was turned towards
+him, but whose armour and device were his own, and who was mounted on a
+white steed that resembled his own war horse, Orelia. In the confusion
+of the fight, the warrior was dismounted and was no longer to be seen,
+and Orelia galloped wildly through the field of battle without a rider.”</p>
+
+<p>The vision he had witnessed in the Tower of Hercules must have recurred
+to Roderick when he saw the Moorish army encamped against him by the
+waters of the Guadalete, but he must have noted its numbers with
+surprise, and contemplated his own host with complacency. For Tarik,
+even with his Berber reinforcements, only counted 12,000 men, and nearly
+four score thousand slept beneath the standard of Spain. If ever
+prophecy was calculated to be found at fault it must have seemed to be
+so that day, and Tarik published his estimate of the enormity of the
+odds that were against him when he cried to his army of fatalists, “Men,
+before you is the enemy, and the sea is at your backs. By Allah, there
+is no escape for you, save in valour and resolution.” But valour and
+resolution belonged to the Spaniards as well as to the Moors; and, but
+for the action of the kinsmen of the dethroned King Witiza, who deserted
+to the side of the Saracens in the midst of the seven day battle, the
+Moorish conquest would have been delayed, if not even entirely
+abandoned. But Witiza’s adherents turned the tide of battle against
+Roderick, the Spaniards broke and fled, and Orelia galloped riderless
+through the field. Tarik, in a single encounter, had won all Spain for
+the infidels.</p>
+
+<p>Without hesitation, and in defiance of the commands of Musa, who coveted
+the glory that his lieutenant had so<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> unexpectedly won, Tarik proceeded
+to make good his mastery of the entire Peninsula. He despatched a force
+of seven hundred horsemen to capture Cordova; Archidona and Malaga
+capitulated without striking a blow; and Elvira was taken by storm. City
+after city surrendered to the victorious invaders, and the principles of
+true chivalry, which the Moors invariably observed, reconciled the
+vanquished Spaniards to their new conquerors. The common people welcomed
+the promise of a new era, while the nobles fled before the advancing
+armies, and abandoned the country to the enemy. With the surrender of
+Toledo, Tarik had added a new dominion to the crown of Damascus. Musa
+left Ceuta in 712 with 18,000 men to join Tarik at Toledo, taking
+Seville, Carmona, and Merida <i>en route</i>. The meeting of the Governor and
+his General at the capital revealed the first flash of that fire of
+personal jealousy and internecine conflict which kept Spain in a blaze
+throughout the eight centuries of the Moorish occupation.</p>
+
+<p>To the intrepid warriors, who were bred to war and trained to the
+business of conquest, the Pyrenees represented, not a bar to further
+progress, but a bulwark from which they were to advance to the
+subjugation of Europe. The total defeat of the Saracens under the walls
+of Toulouse by the Duke of Aquitana in 721 turned their course
+westwards; and after occupying Carcasonne and Narbonne, raiding Burgundy
+and carrying Bordeaux by assault, they suffered a decisive defeat at the
+hands of the Franks, under Charles Martel, at the Battle of Tours in
+733. The tide of Arabian aggression was arrested and rolled back; and
+although the Moors repulsed the Frankish invasion of Spain under
+Charlemagne, a bound had been put upon their empire-building ambitions,
+and they set themselves resolutely to accomplish the pacification of the
+kingdom they had already won. It is<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> the boast of the Northern
+Spaniards, the hardy mountaineers of Galicia and Leon, of Castile and
+the Biscayan provinces, that they were never subject to Moslem rule.
+There is good warrant for their claim, and in truth the independence of
+the North was maintained, but the fact remains that the Moors had no
+desire for those bleak and unfruitful districts; and so long as the
+savage Basques did not disturb the security of Arabian tenure in the
+fertile South, they were left in the enjoyment of their dreary, frozen
+fastnesses, and their wind-swept, arid wastes.</p>
+
+<p>The Moors had made themselves secure in the smiling country that,
+roughly speaking, lies South of the Sierra de Guadarrama; and here, with
+a genius and success that was unprecedented, they organised the Kingdom
+of Cordova. “It must not be supposed,” writes Mr. Stanley Lane-Poole,
+“that the Moors, like the barbarian hordes who preceded them, brought
+desolation and tyranny in their wake. On the contrary, never was
+Andalusia so mildly, justly, and wisely governed as by the Arab
+conquerors. Where they got their talent for administration it is hard to
+say, for they came almost direct from their Arabian deserts, and their
+rapid tide of victories had left them little leisure to acquire the art
+of managing foreign nations. Some of their Counsellors were Greeks and
+Spaniards, but this does not explain the problem; for these same
+Counsellors were unable to produce similar results elsewhere; all the
+administrative talent of Spain had not sufficed to make the Gothic
+domination tolerable to its subjects. Under the Moors, on the other
+hand, the people were on the whole contented&mdash;as contented as any people
+can be whose rulers are of a separate race and creed&mdash;and far better
+pleased than they had been when their sovereigns belonged to the same
+religion as that which they nominally professed. Religion was, indeed,
+the smallest<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> difficulty which the Moors had to contend with at the
+outset, though it had become troublesome afterwards. The Spaniards were
+as much pagan as Christian; the new creed promulgated by Constantine had
+made little impression among the general mass of the population, who
+were still predominantly Roman. What they wanted was&mdash;not a creed, but
+the power to live their lives in peace and prosperity. This their
+Moorish masters gave them.”</p>
+
+<p>The people were allowed to retain their own religion and their own laws
+and judges; and with the exception of the poll tax, which was levied
+only upon Christians and Jews, their imposts were no heavier than those
+paid by the Moors. The slaves were treated with a mildness which they
+had never known under the Romans or the Goths, and, moreover, they had
+only to make a declaration of Mohammedanism&mdash;to repeat the formula of
+belief, “There is no God but God, and Mohammed is His Prophet”&mdash;to gain
+their freedom. By the same simple process, men of position and wealth
+secured equal rights with their conquerers. But while the Moors thus
+practised the science of pacification, they were unable to conquer their
+own racial instincts, which found their vent in jealous blood feuds and
+ceaseless internal conflicts. In the field the Arabs were a united
+people; under stress of warfare their rivalries were forgotten; but the
+racial spirit of the conquerors reasserted itself when the stress of
+conquest gave place to “dimpling peace,” and government by murder
+created constant changes in the administration. The Arabs and the
+Berbers, though they may be regarded as one race in their domination of
+Spain, were two entirely distinct and fiercely hostile tribes. The
+Berbers of Tarik had accomplished the conquest of Spain, but the Arabs
+arrived in time to seize the lion’s share of the spoils of victory; and
+when the Berber insurrection in</p>
+
+<p class="ills"><a name="ill_001" id="ill_001"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_001_lg.jpg">
+<img src="images/ill_001_sml.jpg" width="554" height="400" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;PRINCIPAL NAVE OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_002" id="ill_002"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_002_lg.jpg">
+<img src="images/ill_002_sml.jpg" width="408" height="537" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;ENTRANCE TO THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p>
+
+<p class="ills"><a name="ill_003" id="ill_003"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_003_lg.jpg">
+<img src="images/ill_003_sml.jpg" width="416" height="571" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>GATES OF PARDON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p>
+
+<p class="ills"><a name="ill_004" id="ill_004"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_004a_lg.jpg">
+<img src="images/ill_004a_sml.jpg" width="558" height="212" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>VIEW OF THE CITY AND BRIDGE SOUTH OF THE GUADALQUIVIR</p></div>
+</div>
+
+<p class="ills"><a name="ill_005" id="ill_005"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_004b_lg.jpg">
+<img src="images/ill_004b_sml.jpg" width="550" height="207" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>GENERAL VIEW OF THE INTERIOR OF THE MOSQUE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p>
+
+<p class="ills"><a name="ill_006" id="ill_006"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_005_lg.jpg">
+<img src="images/ill_005_sml.jpg" width="475" height="358" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>FAÇADE AND GATE OF THE ALMANZOR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p>
+
+<p class="ills"><a name="ill_007" id="ill_007"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_006_lg.jpg">
+<img src="images/ill_006_sml.jpg" width="474" height="359" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>VIEW OF INTERIOR OF THE MOSQUE 961-967.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p>
+
+<p class="ills"><a name="ill_008" id="ill_008"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_007_lg.jpg">
+<img src="images/ill_007_sml.jpg" width="381" height="496" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>I.</p>
+
+<p>THE MOSQUE.</p>
+
+<p>PLAN IN THE TIME OF THE ARABS 786-796, 961-967, 988-1001, 1523-1593.</p>
+
+<table style="font-size:70%;text-align:left;" summary=""><tr valign="top"><td>
+A&mdash;Gate of Pardon.<br />
+B&mdash;Bell Tower.<br />
+C&mdash;Orange Court.<br />
+D&mdash;Principal Entrance.<br />
+E&mdash;Mosque of the time 786-796.<br />
+</td><td>
+F&mdash;Tribunal where the Mufti prays.<br />
+G&mdash;Portion of the time 961-967.<br />
+H&mdash;Hall where the Koran is kept.<br />
+I&mdash;Sanctuary.<br />
+K&mdash;Portion added in 988-1001.<br />
+</td></tr>
+</table></div>
+</div>
+
+<p><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p>
+
+<p class="ills"><a name="ill_009" id="ill_009"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_008_lg.jpg">
+<img src="images/ill_008_sml.jpg" width="369" height="492" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>II.</p>
+
+<p>THE MOSQUE&mdash;PLAN IN ITS PRESENT STATE.</p>
+
+<p>786-796, 961-967, 988-1001, 1523-1593.</p>
+
+<p>
+L&mdash;Principal Chapel. &nbsp; &nbsp;
+M&mdash;Choir.&nbsp; &nbsp;
+N&mdash;First Christian Church.&nbsp; &nbsp;
+O&mdash;Chapels.&nbsp; &nbsp;
+P&mdash;The Cardinal’s Chapel.
+</p>
+
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
+
+<p class="nind">North Africa triumphed, their Berber brethren, who had been relegated to
+the least congenial districts of Estremadura, roused themselves to
+measures of retaliation, and carried their standards to the gates of
+Toledo and Cordova. In alarm, the Arab Governor of Andalusia sent for
+his compatriots of Ceuta to aid him, and he expiated his folly with his
+life. The African contingent routed the Berbers, murdered the Arab
+Governor, and set up their own chief in his place, until Abd-er-Rahman
+arrived from Damascus to unite all factions, for a while, under the
+standard of the Sultan of Cordova.</p>
+
+<p>Abd-er-Rahman, which signifies “Servant of the Merciful God,” was a
+member of the deposed family of the Omeyyads, which had given fourteen
+khalifs to the throne of Damascus. The usurping khalif, Es-Deffah, “The
+Butcher,” who founded the dynasty of the Abbasides, practically
+exterminated the Omeyyad family, but Abd-er-Rahman eluded his vigilance,
+and, after abandoning a project to make himself the Governor of North
+Africa, he determined to carry his princely pretensions to the
+newly-founded Spanish dominions. In Andalusia, the advent of the
+Omeyyads was hailed with enthusiasm. The army of the Governor deserted
+to the standard of the young pretender; Archidona and Seville were
+induced to throw open their gates to him by a piece of questionable
+strategy; he defeated the troops that opposed his march upon Cordova,
+and before the end of the year 756, or some fifteen months after setting
+foot in the country, all the Arab part of Spain had acknowledged the
+dynasty of the Omeyyads, which for three centuries was to endure in
+Cordova. Brave, unscrupulous, and instant in action, Abd-er-Rahman had
+recourse to every wile of diplomacy, of severity, and of valour to
+maintain his supremacy in Spain. He defeated and utterly annihilated an
+invading army sent<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> against him by the Abbaside khalif, Mansur, and sent
+a sackful of the heads of his generals as a present to their master; he
+won over the people of Toledo by false promises, and crucified their
+leaders; he had the Yemenite chief assassinated while receiving him as
+an honoured guest; he crushed a revolt of the Berbers in the North, and
+of the Yemenites in the South; he saw the forces of Charlemagne waste
+away in the bloody fastnesses of the Pyrenees. By treachery and the
+sword, by false oaths and murder, he triumphed over every rival and
+enemy until all insurrection had been crushed by his relentless might,
+and the Khalif Mansur was fain to exclaim: “Thank God, there is a sea
+between that man and me.” In an eloquent tribute to his “daring, wisdom,
+and prudence,” his old-time enemy thus extolled the genius of the
+conqueror: “To enter the paths of destruction, throw himself into a
+distant land, hard to approach and well defended, there to profit by the
+jealousies of the rival parties to make them turn their arms against one
+another instead of against himself, to win the homage and obedience of
+his subjects, and having overcome every difficulty, to rule supreme lord
+of all! Of a truth, no man before him has done this!”</p>
+
+<p>But the tyrant of Spain was to pay a great and terrible price for his
+triumphs. He had established himself in a kingdom in which he was to
+stand alone. Long before his death he found himself forsaken by his
+kinsmen, deserted by his friends, abhorred by his enemies; on all sides
+detested and avoided, he immured himself in the fastnesses of his
+palace, or went abroad surrounded by a strong guard of hired
+mercenaries. His son and successor, Hisham, practised during the eight
+years of his reign an exemplary piety, and so encouraged and cherished
+the theological students and preceptors of Cordova, that they rebelled
+against the light-<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span>hearted, pleasure-loving Hakam, who succeeded him,
+and incited the people to open rebellion.</p>
+
+<p>But while the insurrectionists besieged the palace, the Sultan’s
+soldiers set fire to a suburb of the city; and when the people retired
+terror stricken to the rescue of their homes and families, they found
+themselves between the palace garrison and the loyal incendiaries. The
+revolt ended in a massacre, but the dynasty was saved, and the palace
+was preserved to become the nucleus of the gorgeous city which Hakam’s
+son, Abd-er-Rahman II., was to fashion after the style of
+Harun-er-Rashid at Baghdad. Under this æsthetic monarch, Cordova became
+one of the most beautiful cities in the world. Its palaces and gardens,
+its mosques and bridges were the wonder of Europe; its courtiers made a
+profession of culture; its arbiter of fashion again asserted himself as
+the first man in the empire.</p>
+
+<p>In such a city, and at such an epoch, it was natural, even inevitable,
+that Christianity should assert itself as a protest against the fashion
+of the age. But so tolerant was the Mohammedan rule in religious
+matters, that the too exalted spirit of the Cordovan Christians was hard
+put to it to find some excuse for its manifestation of discontent. While
+the sultan and his nobles found their pleasure in music, poetry, and
+other æsthetic if less commendable indulgences, the prejudices of the
+devout were always respected. Prosecution for religious convictions was
+unheard of, and the only way that the Christians could achieve martyrdom
+for their faith was by blaspheming the creed of their Moslem rulers.
+These early fanatics, whose religious rites and beliefs had been treated
+with respect by the Mohammedans, and who knew that by Moslem law he who
+blasphemes the Prophet Mohammed or his religion must die, voluntarily
+transgressed the law for the purpose of<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> achieving their object. In
+spite of warnings, of protests, and of earnest counsel, these suicidal
+devotees cursed the name of the Prophet, and expiated their wilful
+fanaticism with death. With the exception of this period of religious
+mania, which was bewailed by the general body of Christians, and
+regarded with unfeigned sorrow by the Mohammedan judges, the tolerance
+of the Moors to the Christians was as unvarying as it was remarkable.</p>
+
+<p>After the execution, in the year 859, of Eulogius, a fanatical priest,
+and the leader of these misguided martyrs, who was fruitlessly entreated
+by his judges to retract his maledictions against the Prophet and be
+restored to freedom, the mad movement flickered and died out. But the
+devotion displayed by the Cordovan Christians had made its effects felt
+in widespread rebellion in the provinces, and a series of incapable
+sovereigns had reduced the throne to the state of an island surrounded
+by a rivulet of foreign soldiers, in a country bristling with faction
+jealousies and discontent. Spain had fallen a prey to anarchy, and the
+end of Mohammedan rule appeared imminent. Petty kings and governors had
+thrown off their allegiance; Berbers, Arabs, Mohammedan Spaniards and
+Christians had each asserted their absolute independence; and the sultan
+at Cordova was “suffering all the ills of beleaguerment.” The last
+vestige of the power of the Omeyyads was falling away when Abd-er-Rahman
+III. came to the throne to reconquer Spain, and bring the rebel nobles
+to their knees. The new sultan was a lad of twenty-one, but he knew his
+countrymen, and he realised that after a century of lawlessness and
+wasting strife, the people were ripe for a strong and effectual
+government. The Cordovans were won by his handsome presence and gallant
+bearing. The boldness of his programme brought him adherents, and the
+weariness of internecine<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> warfare, which had devastated the country,
+prepared the rebellious provinces for his coming. Seville opened her
+gates to receive him, the Prince of Algarve rendered tribute, the
+resistance of the Christians of Regio was overcome, and Murcia
+volunteered its allegiance. Toledo alone, that implacable revolutionist,
+rejected all Abd-er-Rahman’s overtures, and confidently awaited the
+issue of the siege. But the haughty Toledans had not reckoned upon the
+metal of which the new despot was made. Abd-er-Rahman had no stomach for
+the suicidal tactics of scaling impregnable precipices, but he was
+possessed of infinite patience. He calmly set himself to build a town on
+the mountain over against Toledo, and to wait until famine should compel
+the inhabitants to capitulate. With the fall of Toledo, the whole of
+Mohammedan Spain was once more restored to the sultans of Cordova. The
+power, once regained, was never relaxed in the lifetime of
+Abd-er-Rahman. The Christians of Galicia might push southward as far as
+the great Sierra, Ordono II. of Leon might bring his marauding hosts to
+within a few leagues of Cordova, and cause Abd-er-Rahman to exert all
+his personal and military influence to beat back the obstinate
+Northerners, but the stability of the throne was never again imperilled.
+During his fifty years of strenuous sovereignty, the great Abd-er-Rahman
+saved Spain from African invasion and Christian aggression; he
+established an absolute power in Cordova that brought ambassadors from
+every European monarch to his court; and he made the prosperity of
+Andalusia the envy of the civilised world. This wonderful transformation
+was effected by a man whom the Moorish historians describe as “the
+mildest and most enlightened sovereign that ever ruled a country. His
+meekness, his generosity, and his love of justice became proverbial.
+None of his ancestors ever surpassed him in<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> courage in the field, and
+zeal for religion; he was fond of science, and the patron of the
+learned, with whom he loved to converse.”</p>
+
+<p>In 961, Abd-er-Rahman III., the last great Omeyyad Sultan of Cordova,
+died. His son Hakam II. employed the peace which he inherited from his
+illustrious father in the study of books and the formation of a library,
+which consisted of no fewer than four hundred thousand works. But in his
+reign, the note of absolute despotism which had re-established the
+Empire of Cordova, was less evident; and when at his death, his
+twelve-year-old son, Hisham II., ascended the throne, the government was
+ripe for the delegation of kingly power to favourites and ministers. The
+Sultana Aurora, the Queen Mother, had already abrogated that power, and
+was wielding an influence that Abd-er-Rahman III. would not have
+tolerated for an instant, and her favourite&mdash;an undistinguished student
+of Cordova, named Ibn-Aby-Amir&mdash;was waiting to turn her influence and
+favour to his own advantage. This youth, who is known to history as
+Almanzor, or “Victorious by the grace of God”&mdash;a title conceded to him
+by virtue of his many victories over the Christians&mdash;was possessed of
+pluck, genius, and ambition in almost equal proportions; and by the
+opportunity for their indulgence which the harem influence afforded, he
+made himself virtual master of Andalusia.</p>
+
+<p>In his capacity of professional letter-writer to the court servants,
+Almanzor won the patronage of the Grand Chamberlain, and his appointment
+to a minor office brought him into personal contact with Aurora&mdash;who
+fell in love with the engaging young courtier&mdash;and with the princesses,
+whose good graces he assiduously cultivated. His charm of manner and
+unfailing courtesy gained for him the countenance of many persons of
+rank, and his kindness and lavish generosity<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> secured him the allegiance
+of his inferiors. By degrees he acquired a plurality of important and
+lucrative posts; he earned the gratitude of the Queen Mother by
+arranging the assassination of a rival claimant who opposed the
+accession of her son Hisham to the throne; and he volunteered to lead
+the sultan’s army against his insurrectionary subjects of Leon. Almanzor
+was without military training or experience, but he had no misgivings
+upon the score of his own ability, and his faith in himself was
+justified. His victories over the Leonese made him the idol of the army;
+and on the strength of his increased popularity he appointed himself
+Prefect of Cordova, and speedily rendered the city a model of
+orderliness and good government. By a politic impeachment of the Grand
+Chamberlain for financial irregularities, he presently succeeded his own
+patron in the first office in the State, and became supreme ruler of the
+kingdom.</p>
+
+<p>Almanzor had allowed no scruple or fear to thwart him in his struggle
+for the proud position he had attained, and he now permitted nothing to
+menace the power he had so hardly won. He met intrigue with intrigue,
+and discouraged treachery by timely assassination. He placated
+hectoring, orthodox Moslems; he curtailed the influence of his
+formidable rival, Ghalib, the adored head of the army; he conciliated
+the Cordovans by making splendid additions to the mosque; he terrorised
+the now jealous Aurora and the palace party into quiescence; and he kept
+the khalif himself in subjection by the magnetism of his own masterful
+personality. His African campaigns extended the dominion of Spain along
+the Barbary coast, and his periodical invasions of Leon and Castile kept
+the Northern provinces in subjection, and his army contented and rich
+with the spoils of war. The Christians had terrible reason to hate this
+invincible upstart, and it is not surprising to read in the Monkish<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>
+annals, the record of his death transcribed in the following terms: “In
+1002 died Almanzor, and was buried in hell.” But if his death meant hell
+to Almanzor, as the Christians doubtless believed, it meant the
+recurrence of the hell of anarchy for the Kingdom of Spain.</p>
+
+<p>Within half a dozen years of the great Chamberlain’s death, the country
+which had been held together by the might of one man, was torn to pieces
+by jealous and tyrannical chiefs and rebellious tribal warriors. Hisham
+II. was dragged from his harem seclusion, and the reins of Government
+were thrust into his incompetent hands. He failed, and was compelled to
+abdicate, and another khalif was set up in his place. For the next
+twenty years khalifs were enthroned and replaced in monotonous
+succession. Assassination followed coronation, and coronation
+assassination, until the princes of every party looked askance at the
+blood-stained throne, where monarchs and murderers played their several
+intimate parts. Outside the capital, anarchy and devastation was
+ravaging the country. Berbers and Slavs were carrying desolation into
+the South and East of the country, and in the North the Christians were
+uniting to throw off their dependence. Alfonso VI. was selling his aid
+to the rival chieftains in their battles amongst themselves, and storing
+up his subsidies against the day when he would undertake the re-conquest
+of Spain. The Cid had established his Castilian soldiers in Valencia,
+and the voluptuous, degenerate Mohammedan princes were panic-stricken by
+the growing disaffection and the instant danger which they were
+powerless to overcome.</p>
+
+<p>In their extremity they sent for assistance to Africa, where Yusuf, the
+king of a powerful set of fanatics whom the Spaniards named Almoravides,
+had made himself master of the country from Algiers to Senegal. Yusuf
+came with<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
+
+<p class="ills"><a name="ill_010" id="ill_010"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_009_lg.jpg">
+<img src="images/ill_009_sml.jpg" width="384" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>ANCIENT ARAB TOWER, NOW THE CHURCH OF ST. NICHOLAS DE LA VILLA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p>
+
+<p class="ills"><a name="ill_011" id="ill_011"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_010_lg.jpg">
+<img src="images/ill_010_sml.jpg" width="476" height="354" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>ORANGE COURT IN THE MOSQUE, MOORISH STYLE, BUILT 957, BY SAID BEN
+AYOUT.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p>
+
+<p class="ills"><a name="ill_012" id="ill_012"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_011_lg.jpg">
+<img src="images/ill_011_sml.jpg" width="476" height="356" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>EXTERIOR OF THE MOSQUE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
+
+<p class="ills"><a name="ill_013" id="ill_013"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_012_lg.jpg">
+<img src="images/ill_012_sml.jpg" width="367" height="563" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;SECTION OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
+
+<p class="nind">his Berber hosts in 1086, defeated the Christians, under Alfonso, near
+Badajoz, and leaving three thousand of his men to stiffen the ranks of
+the Andalusians in maintaining the struggle, he returned to Africa. Four
+years later the Spanish Mohammedans again besought Yusuf to bring his
+legions against their Christian despoilers, offering him liberal terms
+for his assistance, and stipulating only that he should retire to his
+own dominions as soon as the work was completed. The Almoravide king
+subscribed the more readily to this condition, since his priestly
+counsellors absolved him from his oath, and had little difficulty in
+convincing him that his duty lay in the pacification of the unhappy
+Kingdom of Andalusia. Yusuf organised a force capable of contending with
+both the Christians of Castile and his Moorish allies. The capitulation
+of Granada provided him with the means of distributing vast treasure
+among his avaricious followers, and promises of even greater booty
+inspired them to further faithful service. Tarifa, Seville, and the rest
+of the important cities of Andalusia, fell before the treasure-hunting
+Berbers; and with the surrender of Valencia, on the death of the Cid,
+the re-conquest of Mohammedan Spain was practically completed. Order was
+temporarily restored, lives and property were once more respected, and a
+new era of peace and prosperity appeared to have begun. But the
+degenerating influence of wealth and luxurious ease, which in the course
+of generations had sapped the manhood of Spain’s successive conquerors,
+played swift havoc with the untutored Berbers. At the end of a score of
+years, the Castilians, led by Alfonso “the Battler,” had resumed the
+offensive, sacking and burning the smaller towns, and carrying their
+swords and torches to the gates of Seville and Cordova. The Almoravides
+were powerless to resist their vigorous forays. The people of Andalus,
+recognising the powerlessness of their protectors,<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> declared their
+independence, and rallied to the ranks of the score of petty chiefs who
+raised their standards in every city and castle in Andalusia, and who
+fought with, or bribed their Christian adversaries for the maintenance
+of their vaunted power.</p>
+
+<p>At this crisis in the history of Spain, when the dominion of the
+enfeebled and dissolute Arab and Berber leaders was weakening before the
+resolute onslaughts of the rude, hard-living, and hard-fighting
+Christians of the North, a new force was created to turn the scale of
+Empire and prolong the rule of the Moslem in Europe. Before the
+Almoravides had been overthrown in Andalus, the Almoravides in Africa
+had been vanquished and dispersed by the mighty Almohades, who now
+regarded the annexation of Mohammedan Spain as the natural and necessary
+climax to the work of conquest. Andalusia had been a dependence of the
+Almoravide Empire; it was now to be a dependence of the Almoravides’s
+successors. Between 1145 and 1150 the transfer was completed; but
+although the Almohades had wrested the kingdom from the Almoravides,
+they had not subdued the Christian provinces. The new rulers,
+under-estimating the potentiality of this danger, left the country to be
+governed by viceroys&mdash;an error in statecraft, which ultimately lost
+Spain to the Mohammedan cause. In 1195 they sent from Morocco a huge
+force to check the Christian aggressive movement, and the Northern host
+was routed at Alarcos, near Badajoz. That success was the last notable
+victory that was to arrest the slow, but certain, recovery of all Spain
+to Catholic rule. In 1212, the Almohade army suffered a disastrous
+defeat at the battle of Las Navas; in 1235 they were driven out of the
+Peninsula; three years later, on the death of Ibn-Hud, the Moslem
+dominion in Spain was restricted to the Kingdom of Granada; and,
+although this<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> Moorish stronghold was destined to endure for another two
+and a-half centuries, it existed only as a tributary to the throne of
+the Christian kings of Spain.</p>
+
+<p>For the purposes of this book, the history of Moorish Spain closes with
+the expulsion of the Mohammedans from Cordova, Toledo, and Seville. That
+more modern, and, in some ways more wonderful, Moorish monument&mdash;the Red
+Palace of Granada&mdash;I have dealt with in my book on “The Alhambra,” to
+which this work is intended to be the companion and complement.</p>
+
+<p><span class="pagenum"><a name="page_32" id="page_32">{32}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_35" id="page_35">{35}</a></span>&nbsp; </p>
+
+<h2><a name="CORDOVA" id="CORDOVA"></a>CORDOVA</h2>
+
+<p class="nind"><span class="letra">O</span>F the four great cities of the Mohammedan domination in Spain, Cordova,
+as the seat of the Khalifate established by Abd-er-Rahman I., is rightly
+regarded as chief. The sun of the Moslem era shone with dazzling
+brilliance on Seville, and pierced the shadows of grim Toledo ere it set
+upon the decaying grandeur of Granada; but it had risen first on
+Cordova, and from “that abode of magnificence, superiority, and
+elegance” its glory had been reflected to the furthest corner of the
+civilised world. For Cordova, by reason of its climate, its situation,
+and its surroundings has, since the beginning of time, been one of the
+garden spots of Europe. The Carthaginians had aptly styled it “the Gem
+of the South,” and the Romans had founded a city there in 152 B.C.,
+which they called Corduba. But Corduba had sided with Pompey against
+Cæsar in the struggle for the mastership of the Roman Empire, and the
+mighty Julius visited this act of hostility with the destruction of more
+than half the city, and the massacre of 28,000 of its inhabitants. When
+the Goths made themselves rulers of Spain in the sixth century, they
+selected Toledo to be their capital, and Cordova sank into political
+insignificance. In 711, when Tarik had defeated Roderick near the banks
+of the Guadalete, he despatched Mughith with 700 horse to seize Cordova.
+Taking advantage of a fortuitous storm of hail, which deadened the
+clatter of the horses’ hoofs, and assisted by<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> the treachery of a
+Christian shepherd, the followers of the Prophet obtained an unopposed
+entry, and the city fell without a blow being struck. Forty-four years
+later Abd-er-Rahman I. established the dynasty of the Omeyyads of
+Cordova, and for three centuries the capital of Mohammedan Spain was to
+be, in the language of the old chronicler, Ash-Shakand, “the repository
+of science, the minaret of piety and devotion, unrivalled even by the
+splendours of Baghdad or Damascus.”</p>
+
+<p>Science has long since deserted Cordova; piety is not obtrusive there;
+its material magnificence has passed away. To-day the once famous city
+is a sleepy, smiling, overgrown village; a congregation of empty
+squares, and silent, winding, uneven streets, which have a more
+thoroughly African appearance than those of any other town in Spain.
+Theophile Gautier has described its “interminable white-washed walls,
+their scanty windows guarded by heavy iron bars,” and its pebbly,
+straw-littered pavement, and the sensitive spirit of De Amicis was
+caught by a vague melancholy in the midst of its white-washed,
+rose-scented streets. Here, he writes, there is “a marvellous variety of
+design, tints, light, and perfume; here the odour of roses, there of
+oranges, further on of pinks; and with this perfume a whiff of fresh
+air, and with the air a subdued sound of women’s voices, the rustling of
+leaves, and the singing of birds. It is a sweet and varied harmony that,
+without disturbing the silence of the streets, soothes the ear like the
+echo of distant music.” It has, as I have observed elsewhere, a charm
+that fills the heart with a sad pleasure; there is a mysterious spell in
+its air that one cannot resist. One may idle for hours in the sunshine
+that floods the deserted squares, and try to reconstitute in one’s mind,
+that Cordova, which was described as “the military camp of Andalus, the
+common rendezvous of</p>
+
+<p><a name="plt_I" id="plt_I"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE I.<br />CORDOVA.</p></div>
+<a href="images/ill_013_lg.jpg">
+<img src="images/ill_013_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Shell-like Ornaments in the Cupola of the Mihrab.</p></div>
+</div>
+
+<p><a name="plt_II" id="plt_II"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE II.</p></div>
+<a href="images/ill_014_lg.jpg">
+<img src="images/ill_014_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Shell-like Ornaments in the Cupola of the Mihrab.</p></div>
+</div>
+
+<p><a name="plt_III" id="plt_III"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE III.<br />CORDOVA.</p></div>
+<a href="images/ill_015_lg.jpg">
+<img src="images/ill_015_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Shell-like Ornaments in the Cupola of the Mihrab.</p></div>
+</div>
+
+<p><a name="plt_IV" id="plt_IV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE IV.<br />CORDOVA.</p></div>
+<a href="images/ill_016_lg.jpg">
+<img src="images/ill_016_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Part of the ornamentation and keystone of one of the lower arches which
+gives light to the dome.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p>
+
+<p class="nind">those splendid armies which, with the help of Allah, defeated at every
+encounter the worshippers of the Crucified.” This indolent, lotus-fed,
+listless Cordova was once, says El-Makkari, “the meeting place of the
+learned from all countries, and, owing to the power and splendour of the
+dynasty that ruled over it, it contained more excellencies than any
+other city on the face of the earth.” Another Mohammedan author,
+Al-hijari, Abu Mohammed, writing of the city in the twelfth century,
+said: “Cordova was, during the reign of the Beni-Merwan, the cupola of
+Islam, the convocation of scholars, the court of the sultans of the
+family of Omeyyah, and the residence of the most illustrious tribes of
+Yemen and Ma’d. Students from all parts of the world flocked thither at
+all times to learn the sciences of which Cordova was the most noble
+repository, and to derive knowledge from the mouths of the doctors and
+ulema who swarmed in it. Cordova is to Andalus what the head is to the
+body. Its river is one of the finest in the world, now gliding slowly
+through level lawns, or winding softly across emerald fields, sprinkled
+with flowers, and serving it for robes; now flowing through
+thickly-planted groves, where the song of birds resounds perpetually in
+the air, and now widening into a majestic stream to impart its waters to
+the numerous wheels constructed on its banks, communicating fresh vigour
+to the land.”</p>
+
+<p>The extent of ancient Cordova has been differently stated, owing, no
+doubt, to the rapid increase of its population and the expansion of the
+buildings under the sultans of the dynasty of Merwan on the one hand,
+and, on the other, to the calamities and disasters by which it was
+afflicted under the last sovereigns of that house. Cordova is, moreover,
+described by Mohammedan writers as a city which never ceased augmenting
+in size, and increasing in importance, from the time of its subjugation
+by the Moors until <small>A.D.</small> 1009-10, when, civil war breaking out within it,
+the capital fell from its ancient splendour, gradually decaying, and
+losing its former magnificence, until its final destruction in <small>A.D.</small>
+1236, when it passed into the hands of the Christians.</p>
+
+<p>From 711 until 755, when Abd-er-Rahman arrived in Spain to seize the new
+Moorish possession, which had fallen to the military skill and courage
+of Tarik’s Berbers, the conquerors had been too fully employed in
+capturing cities to devote much leisure to beautifying their prizes;
+now, with the foundation of the Omeyyad power, Cordova was to reap the
+first fruits of comparative peace. But the repulsion of the Abbaside
+invasion, the subjugation of Toledo, and the suppression of the Berber
+revolt in the Northern provinces, long delayed the commencement of the
+great mosque which the sultan projected as “a splendid seal upon the
+works pleasing to the Almighty, which he had accomplished.” By the
+building of the mosque, Abd-er-Rahman would secure a place for himself
+in Paradise, and would leave to his own honoured memory a Mecca of the
+West to which the followers of the Prophet could go in pilgrimage.</p>
+
+<p>The treasury of Abd-er-Rahman was at this time in a flourishing
+condition, despite the large sums spent in adding splendour to the
+growing khalifate, and there appeared to be no difficulty in carrying
+out his project. But Umeya Ibn Yezid, the favourite secretary of the
+sultan, who, in his capacity of Katib, was instructed to make overtures
+for the purchase of the church on whose site the khalif intended to
+build the new mosque, soon found that the negotiations were beset by
+serious difficulties. The Christians held firm to the conditions of
+capitulation granted them by the Saracen conquerors of Cordova, and were
+not at all inclined to sell to Abd-er-Rahman the temple upon which he
+had set his heart. This building is described by Pedro de Madrazo as a
+spacious basilica, which they shared with the followers of the Prophet,
+since the Mohammedans, according to the practice established amongst
+them by the advice of the Khalif Omar, shared the churches of the
+conquered cities with the Christians, and, after taking Cordova, had
+divided one of the principal basilicas in two parts, one of which they
+conceded to the Cordovans, reserving the other, which they at once
+turned into a mosque, for themselves. The Christians had religiously
+paid the tribute exacted from them that they might keep their churches,
+bishops, and priests, but this had not protected them from unjust
+exactions and plunderings at the hands of the governors and
+representatives of the Eastern khalifs. Knowing this, Abd-er-Rahman was
+anxious to acquire the desired site without violence, and, with his
+natural sagacity, he perceived that the religious zeal of the native
+Christians was much less fervent than that of his own people. Captivity
+and affliction had damped the old ardour of the natives of Cordova,
+which, in his day, was no longer the heroic colony, so anxious for
+martyrdom, and so prodigal of its blood, as it was at the time when the
+flock of Christ was guided by the great Osius under the persecutions of
+Diocletian and Maximilian. Neither was it the Cordova which had endured
+wars, hunger, and plague sooner than be contaminated with Arianism, and
+the khalif knew, too, that in spite of the education given to the
+Christian youth in the schools and colleges of the monasteries, where
+many young priests and secular scholars promised to be a future danger
+to the Mohammedans, the Church at Cordova was suffering grievous wounds
+from the new doctrines of Migencio and Elipando. He was, therefore, the
+more surprised to receive a stubborn refusal to his offer, but the
+estimation in which he held the vanquished people and their leaders,
+led him to believe that he could overcome their obstinacy by quiet
+persistence, and by trusting to time to undermine their scruples. His
+policy was justified by its eventual success.</p>
+
+<p>How did Abd-er-Rahman succeed in persuading the Christians to make so
+great a sacrifice? How came they to be induced to abandon their
+principal church to the infidels? Had not these walls been witnesses of
+the vows they had sworn at the most solemn epochs of their lives?
+Perhaps it was already a matter of indifference to them to see the
+ground, sanctified by the blood of their martyrs, defiled! “God Almighty
+alone knows” must be our only comment upon this unaccountable
+transaction, and we leave it thus in accordance with the practice
+adopted by the Arab historians, when they were at a loss for an
+explanation.</p>
+
+<p>It is certain that under the reign of Abd-er-Rahman the Christians were
+no longer persecuted on account of their religion. They paid tribute, it
+is true, as a conquered people, but their faith was respected; they had
+their churches and monasteries, where they worshipped publicly; and it
+is not recorded that any of their priests were molested by the first
+Moorish king of the West. On the other hand, when they compared their
+present lot with that of the past, they must have considered themselves
+greatly fortunate, as they escaped the tyranny under which their fathers
+had suffered during the years from the cruel Alahor to the time of the
+covetous Toaba. It is certain that a new empire was rising in Cordova,
+which was very threatening to the law of Christ; but at first its menace
+was not revealed, and for this reason it was more to be feared. Its
+intentions were not published, but they were vaguely felt. Those who
+were wisest and most far-seeing could perceive, though still far off,
+the dark cloud of a bloody persecution drawing around the Church of
+Andalusia; but for the generality of the Christians there seemed to be
+no reason why the present toleration was not to continue, and it is
+certain that fear was not the motive that made them yield to the wishes
+of the khalif.</p>
+
+<p>History is very reticent concerning this event; in fact, as Pedro de
+Madrazo admits, nothing definite has, up to the present, been discovered
+with regard to it. The probabilities are that the Bishop of Cordova,
+upon receiving the message of the Moorish king, called a council, and,
+after due discussion, resolved to part amicably with that which, despite
+the king’s moderation, would without any doubt be taken from them by
+force, should they persist in their refusal. In parting with their
+church, and transferring their place of worship, they hoped, too, to be
+released from the odious proximity of the infidels, whose presence under
+the roof of their basilica must always have been looked upon as a
+desecration of the sacred building. And, finally, the advantages to be
+gained by removing their holy relics to a more suitable sanctuary may
+have decided them to accept the khalif’s offer, under the condition that
+they should be allowed to re-build the basilica of the martyrs St.
+Faustus, St. Januaris, and St. Marcellus, which had been destroyed in
+recent years; and this being conceded to them by the khalif, the bishop
+authorised the transfer. The Arab ordered that the price agreed upon
+should be sent at once to the Christians, who were in turn to surrender
+their church forthwith, because Abd-er-Rahman, already advanced in
+years, was anxious that the edifice he was going to raise should be
+commenced without delay. No sooner had the Christians departed than
+Abd-er-Rahman left his villa in Razafa and took up his residence at the
+alcazar of the city, in order to superintend the projected work. The
+destruction of the old building was immediately proceeded with. Devoured
+with the desire to see the work completed, the indefatigable old man
+spent many hours each day on the scene, carefully examining the portions
+of the demolished buildings, which were to be utilised for the new
+mosque, and classifying them with rare skill. The whole city was filled
+with movement and commotion. There was not a trade amongst the people
+which did not receive fresh impetus from the new building. Whilst all
+were busy in the factories and workshop, in the woods, on the mountains,
+and on the roads from the hills to the city; whilst the furnaces and
+brick ovens were glowing; whilst the Syrian architect meditated on his
+plans and on those traced by the king’s own hands, and the Katib wrote
+to Asia and Africa inviting the co-operation of famous artists; the
+people, lazy and curious, swarmed around the spacious foundations, and
+the whole city presented a scene of animation and excitement not easy to
+describe.</p>
+
+<p>Abd-er-Rahman, who had a presentiment that he would not live to see the
+mosque finished, pushed on the work with all speed, that he might at
+least have the satisfaction of covering the arcades which formed its
+naves, and of inaugurating the cult of Islam with one of those eloquent
+harangues, which he was in the habit of addressing to his people on the
+days of “Juma,” or Rest. Barely two years after the foundations were
+laid the square fortress of Islam rose above the groves by the river,
+surpassing in height the severe Alcazar of Rodrigo. A few more moons,
+and the interior walls, the superb colonnades of bold and unusual
+form,&mdash;the mosque of Cordova is probably the first edifice in which
+superposed arches were introduced&mdash;the graceful rows of double arches,
+the ample porticos, the handsome façade of eleven entrances, the rich
+side doors, flanked by fretted windows, and finally the incomparable
+roof of incorruptible wood, carved and painted, would be finished.
+Still a few more moons, and the “hotba,” or harangue, for the health of
+Abd-er-Rahman was to be read to the people from the most beautiful
+“nimbar,” or pulpit in the West, and repeated by two thousand believers
+as with one voice, drowning in the vibrating surge of an immense and
+thundering contempt the shamed hymns of the vanquished Nazarenes.</p>
+
+<p>Not only was the mosque to be ready for the celebration of the public
+ceremonies on the first day of “Alchuma,” but already the sanctuary
+loomed at the extremity of the principal nave towards the South, covered
+with rich and dazzling Byzantine ornamentation, the venerated copy of
+the holy house of Mecca. The great aljama was not yet complete, it is
+true, but the diligent architects would find a way to satisfy the
+impatience of the sultan by covering the walls with rich hangings from
+Persia and Syria. A profusion of Corinthian columns in the principal
+naves, and of bold marble pillars from the Roman monuments, sent from
+the provinces as presents to the monarch from his walies, would be in
+their place. The columns taken from the old basilica of the Visigoths,
+would be found in the secondary naves, with others, as yet unchiselled.
+The floor was to be covered with flowers and fragrant herbs, and the
+sacred precincts would be inundated with light and perfume, diffused by
+hundreds of candelabra and thuribles. The fortunate Abd-er-Rahman would
+be able at least once before he died to direct the rites of the
+religion, for the propagation of which he had made so many sacrifices,
+in his capacity of “Imam” of the law.</p>
+
+<p>But it was not to be. That day the news spread through the city that the
+angel of death was seated by the bedside of the khalif; and soon after,
+the body of Abd-er-Rahman, the wise, the virtuous, and the victorious,
+lay in one of the chambers of his alcazar, wrapped in the white
+garments, distinctive of his great lineage. The sad event was announced
+to the people by Abd-er-Rahman Ibn Tarif, the superior of the Aljama of
+Cordova, from the very pulpit from which the dead monarch was to have
+addressed his subjects, and the crowds departed from the mosque
+exclaiming: “May the Amir rest in the sleep of peace, Allah will smile
+upon him on the day of reckoning.”</p>
+
+<p>The great glory of completing the mosque was reserved for Hisham, the
+favourite son of Abd-er-Rahman, to whom all the walies had sworn fealty
+as the rightful successor. This prince was at Merida when his father
+died, but he at once left that city for Cordova, where he made the
+mosque the object of his special solicitude.</p>
+
+<p>Soon after his accession, Hisham consulted a famous astrologer as to his
+future. The learned man, who was called Abh-dhobi, at first refused to
+gratify the sultan’s curiosity, but upon being pressed he said: “Thy
+reign, O Amir, will be glorious and happy, and marked by great
+victories; but, unless my calculations are wrong, it will only last some
+eight years.” Hisham remained some time in silence upon hearing these
+words, but presently his face cleared, and he spoke thus to the
+astrologer: “Thy prediction, O Abh-dhobi, does not discourage me, for if
+the days given me still to live by the Almighty are passed in adoring
+Him, I shall say when my hour comes, ‘Thy will be done.’<span class="lftspc">”</span></p>
+
+<p>This monarch’s brief reign was rich in notable deeds. He repressed the
+rebellion of his two brothers Suleyman and Abdullah, carried the holy
+war as far as Sardinia, entered and sacked the town of Narbonne, and
+compelled the unhappy Christians to carry the clay of the demolished
+walls of their city upon their shoulders as far as Cordova, in order to
+build a mosque in his alcazar. Hisham made himself feared by the Franks,
+and he did much to establish the empire of Islam in Andalus, enlarging
+its capital, repairing</p>
+
+<p class="ills"><a name="ill_014" id="ill_014"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_017_lg.jpg">
+<img src="images/ill_017_sml.jpg" width="362" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE.</p>
+
+<p>PORTAL ON THE NORTH SIDE, MOORISH STYLE, BUILT UNDER HAKAM III.,
+988-1001.</p></div>
+</div>
+
+<p class="ills"><a name="ill_015" id="ill_015"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_018_lg.jpg">
+<img src="images/ill_018_sml.jpg" width="479" height="341" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>EXTERIOR VIEW OF THE MOSQUE.</p></div>
+</div>
+
+<p class="ills"><a name="ill_016" id="ill_016"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_019_lg.jpg">
+<img src="images/ill_019_sml.jpg" width="475" height="340" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>EXTERIOR ANGLE OF THE MOSQUE.</p></div>
+</div>
+
+<p class="ills"><a name="ill_017" id="ill_017"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_020_lg.jpg">
+<img src="images/ill_020_sml.jpg" width="371" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE EXTERIOR OF THE MOSQUE.</p></div>
+</div>
+
+<p><a name="plt_V" id="plt_V"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE V.<br />
+CORDOVA.</p></div>
+<a href="images/ill_021_lg.jpg">
+<img src="images/ill_021_sml.jpg" width="429" height="581" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<p>Curvelinear triangles resulting from the intersection of the arches
+sustaining the dome.</p>
+
+<p>Setting of the arches sustaining the dome.</p>
+
+</div>
+</div>
+
+<p><a name="plt_VI" id="plt_VI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE VI.<br />CORDOVA.</p></div>
+<a href="images/ill_022_lg.jpg">
+<img src="images/ill_022_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornament running below the Cupola.</p>
+
+<p>Setting of one of the lower arches which gives light to the dome.</p></div>
+</div>
+
+<p><a name="plt_VII" id="plt_VII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE VII.<br />CORDOVA.</p></div>
+<a href="images/ill_023_lg.jpg">
+<img src="images/ill_023_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Curvelinear triangles resulting from the intersection of the arches
+sustaining the dome.</p>
+
+<p>Architrave of one of the Arches sustaining the Dome.</p></div>
+</div>
+
+<p><a name="plt_VIII" id="plt_VIII"></a></p>
+
+<div class="figcenter">
+
+<div class="captionss"><p>PLATE VIII.<br />CORDOVA.</p>
+
+<p>Details de las Portados de la Maksurah.</p></div>
+<a href="images/ill_024_lg.jpg">
+<img src="images/ill_024_sml.jpg" width="565" height="279" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="4" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td>Keystone of the arch of the Mihrab.
+</td><td>
+Keystone of the arch of the right<br /> hand side gateway.</td></tr>
+</table>
+</div>
+</div>
+
+<p><a name="plt_IX" id="plt_IX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE IX.<br />CORDOVA.</p>
+<a href="images/ill_025_lg.jpg">
+<img src="images/ill_025_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Arches of the Portal of the Mihrab.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_39" id="page_39">{39}</a></span>&nbsp; </p>
+
+<p><a name="plt_X" id="plt_X"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE X.<br />CORDOVA.</p>
+
+</div>
+<a href="images/ill_026_lg.jpg">
+<img src="images/ill_026_sml.jpg" width="408" height="586" alt="[Image unavailable.]" /></a>
+
+<table border="0" cellpadding="4" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td colspan="2">Detail of the Framing of the Side Gate.</td></tr>
+<tr><td>
+Detail of the Window placed over the Side Door.</td>
+<td>Detail of the Framing of the Arch of the Mihrab.</td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span>&nbsp; </p>
+
+<p><a name="plt_XI" id="plt_XI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XI.<br />CORDOVA.</p></div>
+<a href="images/ill_027_lg.jpg">
+<img src="images/ill_027_sml.jpg" width="402" height="553" alt="[Image unavailable.]" /></a>
+<div class="captionss">
+
+<p>Windows in an Alcove.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_43" id="page_43">{43}</a></span>&nbsp; </p>
+
+<p><a name="plt_XII" id="plt_XII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XII.<br />CORDOVA.</p></div>
+<a href="images/ill_028_lg.jpg">
+<img src="images/ill_028_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>
+<span style="margin-left: 7.5em;">ft. in.</span><br />
+Height of Vase  4   6<br />
+<br />
+<span style="margin-left: 7.5em;">ft. in.</span><br />
+Diameter        2  11<br />
+</p>
+
+<p>Arab Vase of Metallic Lustre.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>&nbsp; </p>
+
+<p><a name="plt_XIII" id="plt_XIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XIII.<br />CORDOVA.</p></div>
+<a href="images/ill_029_lg.jpg">
+<img src="images/ill_029_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Details of the Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>&nbsp; </p>
+
+<p><a name="plt_XIV" id="plt_XIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XIV.</p></div>
+<a href="images/ill_030_lg.jpg">
+<img src="images/ill_030_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Centre Painting on a Ceiling.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span>&nbsp; </p>
+
+<p><a name="plt_XV" id="plt_XV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XV.</p></div>
+<a href="images/ill_031_lg.jpg">
+<img src="images/ill_031_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Divan.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span>&nbsp; </p>
+
+<p><a name="plt_XVI" id="plt_XVI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XVI.</p></div>
+<a href="images/ill_032_lg.jpg">
+<img src="images/ill_032_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Detail of an Arch.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_53" id="page_53">{53}</a></span>&nbsp; </p>
+
+<p class="nind">its magnificent bridge, creating useful public institutions, and finally
+completing the grand mosque, which his father had commenced, founding
+and endowing in connection with it schools and colleges. Moreover, he
+did all this with the resources of the treasury, and with his lawful
+part of the spoils of conquest, without levying any extraordinary taxes.</p>
+
+<p>Tradition relates that there formerly was a bridge over the
+Guadelquivir, erected on the site of the present structure, about 200
+years before the arrival of the Moors in Spain: but, this edifice being
+greatly decayed, it was rebuilt by the Arabs during the Viceroyship of
+Assamh, <small>A.D.</small> 720 or 721. This noble structure is four hundred paces, or
+one thousand feet, in length, and its breadth is twenty-two feet eight
+inches within the parapets. The passage over the bridge is a straight
+line from one end to the other; the arches are sixteen in number, and
+the buttresses of the piers are much stronger and better adapted for
+similar purposes than the modern tri-lateral cut-waters. Nearly eleven
+centuries have these buttresses withstood the rapid floods of the
+Guadelquivir, without sustaining any material injury. Although Hisham
+practically rebuilt the bridge, the labour did not contribute to his
+personal convenience. His great love of hunting caused the malcontents
+among his subjects to whisper that he had repaired the bridge to
+facilitate the outgoings and incomings of his hunting parties. The
+rumour reached the king, who vowed that he would never cross the bridge
+again&mdash;a vow he faithfully observed.</p>
+
+<p>The great Aljama was completed in the year <small>A.D.</small> 793. The Emir Hisham
+took as great a personal interest in its progress as did his father, the
+walies of the provinces contributed to its decoration with the spoils
+from ancient monuments, the artificers with their genius, victors with
+their booty, the city with its workmen, the mountains of<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> Cordova and
+Cabra by yielding the treasures of their quarries, Africa with the
+trunks of its imperishable larch-pines, and Asia by inoculating the
+growing Arabic-Spanish art with its genius of ornament, its aspirations
+and its poetry.</p>
+
+<p>The superb mosque was finished, the workmen rested from their labours,
+and Hisham was confident that he had secured a place in the garden of
+everlasting joys. Let us look at this new house of prayer, majestically
+situated at the southern boundary of the great city, close to the green
+banks of the wide river of Andalus, occupying an area of 460 feet from
+north to south, and 280 from east to west, surrounded by high, thick
+battlemented walls, flanked by stout buttresses of watch towers, and
+surmounted by a lofty minaret. It is entered by the faithful by nine
+rich and spacious outer gates, and by eleven interior doors, four in the
+east and west sides, and a principal one to the north; the eleven in the
+inner façade communicating with an equal number of naves in the temple.
+The interior arrangement of this wonderful monument is most beautiful.
+There is a great courtyard, or atrium, with wide gates in the north,
+west, and east sides, having fountains for the ablutions and the
+purifications, and orange and palm groves. Then comes the immense body
+of the house of prayer, divided into eleven principal naves, running
+from north to south, and crossed at right angles by twenty-one smaller
+naves, which run from east to west. The elegant combination of the
+arcades, in which the pilasters are superposed on the columns, and the
+arches on other arches, leaving a passage for the light between the
+upper and lower columniation, is quite ideal. Finally, the mysterious
+hidden sanctuary, within which the Koran is kept, in whose precincts
+Oriental art has exhausted all the riches of its fascinating resources.</p>
+
+<p>The eleven great doors leading from the courtyard to the<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p>
+
+<p class="ills"><a name="ill_018" id="ill_018"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_033_lg.jpg">
+<img src="images/ill_033_sml.jpg" width="473" height="304" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE BRIDGE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_019" id="ill_019"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_034_lg.jpg">
+<img src="images/ill_034_sml.jpg" width="481" height="316" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>VIEW OF THE MOSQUE AND THE BRIDGE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_58" id="page_58">{58}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_020" id="ill_020"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_035a_lg.jpg">
+<img src="images/ill_035a_sml.jpg" width="481" height="124" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>SECTION OF THE MOSQUE OF CORDOVA ON THE LINE OF THE PLAN L. M.</p></div>
+</div>
+
+<p class="ills"><a name="ill_021" id="ill_021"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_035b_lg.jpg">
+<img src="images/ill_035b_sml.jpg" width="471" height="118" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>SECTION OF THE MOSQUE OF CORDOVA ON THE LINE OF THE PLAN N. O.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_60" id="page_60">{60}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_61" id="page_61">{61}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_022" id="ill_022"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_036_lg.jpg">
+<img src="images/ill_036_sml.jpg" width="394" height="508" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE GATES OF PARDON.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span>&nbsp; </p>
+
+<p class="nind">mosque are superb double arches all in a row, sustained by beautiful
+marble columns, which, four by four, encircle the stout supporting
+pillars of stone in which they are consolidated. From the courtyard the
+interior of the mosque is seen through these eleven doors glittering
+with golden fires, and from the temple the courtyard, seen through these
+same doors, appears to be a glimpse of the longed-for Garden of
+Delights. The Mohammedan poet, Mohammed Ibn Mohammed Al-baluni, sings as
+follows of the holy House of Prayer, which surpasses in richness of
+colour, beauty of design, and boldness of ornamentation the most famous
+mosques of Arabia, Syria, and Africa:</p>
+
+<div class="blockquott"><p>“Abd-er-Rahman, for the love of God, and in honour of his religion,
+spent eighty thousand dinars of silver and gold.”</p>
+
+<p>“He laid them out in constructing a temple for the use of his pious
+nation, and for the better observance of the religion of Mahomet.”</p>
+
+<p>“Here the gold lavished on the panelled ceilings shines with the
+same brilliancy as the lightning, which pierces the clouds.”</p></div>
+
+<p>The design, as completed by the Sultan Hisham I. in the years 794-95,
+received considerable improvements at the hands of his successors.
+Indeed, it can be safely said that none of the sultans of the
+illustrious family of Omeyyad who reigned in Cordova failed to make some
+estimable addition, or contributed in some way to the decoration of the
+sumptuous building. Hakam’s son, Abd-er-Rahman II., <small>A.D.</small> 822-852,
+ordered much “Gilt-work”&mdash;<i>Zak-hrafah</i>&mdash;to be made, but died before the
+work was completed. Mohammed, his son and successor&mdash;<small>A.D.</small>
+852-886&mdash;continued the work undertaken by his father, and brought it to
+a close. Mohammed’s son, Abdallah&mdash;<small>A.D.</small> 886-888&mdash;is also recorded as
+having made improvements in the building.<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p>
+
+<p>In the time of the Great Khalif, Abd-er-Rahman III., called An-nasir in
+order to distinguish him from the other monarchs of that name, the old
+minaret was pulled down by the advice of a wise architect, and a new one
+built on its site, whose vastness surpassed all other minarets in the
+world. Forty-three days were spent in sinking its foundations, which
+penetrated into the ground till water was struck, and three months
+sufficed for its construction. The superb tower is built of freestone
+and mortar in such a curious manner that, though it contains two
+staircases in its interior, each flight containing 107 steps, people can
+ascend to the top and go down again without seeing one another. This
+elaborate tower measures fifty-four cubits from its foundations to the
+upper part of the open dome, to which the priest, who calls to prayers,
+turns his back, as he perambulates the projecting balcony, whose elegant
+balustrade surrounds the four walls like a graceful ring. From this
+balcony up to the top the tower rises eighty-three cubits more, being
+crowned with three beautiful apples, two of gold and one of silver, each
+three palms and a half in diameter, from which spring two lilies of six
+petals, supporting a pomegranate of purest gold. It has fourteen windows
+in its four faces. In two of these faces there are three intervals, and
+in the other two, two intervals, formed between columns of white and red
+jasper, and over the windows there is a crowning of solid arches
+sustained by small columns of the same jasper. These windows break up
+the mass of the walls in an admirable manner. The minaret is covered,
+both inside and out, with beautiful tracery in relief.</p>
+
+<p>Abd-er-Rahman also rebuilt the wall which enclosed the mezquita to the
+north, looking towards the Orange Court, and he had the entire floor of
+the mosque levelled.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
+
+<p class="ills"><a name="ill_023" id="ill_023"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_037_lg.jpg">
+<img src="images/ill_037_sml.jpg" width="479" height="316" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>A VIEW IN THE GARDEN BELONGING TO THE MOSQUE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_67" id="page_67">{67}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_024" id="ill_024"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_038_lg.jpg">
+<img src="images/ill_038_sml.jpg" width="366" height="479" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;LATERAL GATE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_68" id="page_68">{68}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_69" id="page_69">{69}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_025" id="ill_025"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_039_lg.jpg">
+<img src="images/ill_039_sml.jpg" width="473" height="365" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>INTERIOR OF THE MOSQUE, OR CATHEDRAL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_026" id="ill_026"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_040_lg.jpg">
+<img src="images/ill_040_sml.jpg" width="350" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>INTERIOR OF THE MOSQUE, MOORISH STYLE, BUILT 961-967, UNDER HAKAM II.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_72" id="page_72">{72}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_73" id="page_73">{73}</a></span>&nbsp; </p>
+
+<p>In 961 <small>A.D.</small>, Abd-er-Rahman III., the last great Omeyyad Sultan of
+Cordova died, and among his papers was discovered a diary, in his own
+handwriting, in which he had carefully noted down the days which he had
+spent in happiness and without any cause of sorrow. They numbered
+exactly fourteen. “O, man of understanding!” says the Arabian
+philosopher, “wonder and observe the small portion of real happiness the
+world affords even in the most enviable position! The Khalif An-nasir,
+whose prosperity in mundane affairs, and whose widely-spread empire
+became proverbial, had only fourteen days of undisturbed enjoyment
+during a reign of fifty years, seven months, and three days. Praise be
+given to Him, the Lord of eternal glory and everlasting empire.”</p>
+
+<p>The Sultan Hakam, as soon as he succeeded to the Khalifate, determined
+to enlarge the mosque, which was too small to accommodate the numbers of
+those who went there to perform the “azalas.” He called together the
+architects and geometricians, who decided that the addition should
+extend from the “kiblah”&mdash;the point looking towards Mecca&mdash;of the mosque
+to the extreme end of the atrium, thus running the entire length of the
+eleven naves. The addition measured ninety-five cubits from north to
+south, and as much from east to west as the width of the whole mosque.
+The passage to the alcazar, used by the khalif when he came to the
+“azalas,” was intersected near the “nimbar,” or pulpit, inside the
+“maksurrah.” In the year 354 of the Hegirah the cupola, which crowned
+the “mihrab,” or sanctuary, containing the Koran, in the addition to the
+mosque made by Hakam, was completed. In the same year the “sofeysafa,”
+or enamelled mosaic work, was commenced in the mosque, and, by the order
+of Hakam, the four incomparable columns, which formerly had served as
+jambs for the<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> doors of the old “mihrab,” were set up again in the new
+one. It is related that while the addition was being made, a lively
+dispute arose as to the exact spot of the “kiblah,” and it was finally
+decided to erect the sanctuary at the limit of the prolongation of the
+eleven naves, in the centre, looking directly to the south. Between the
+interior southern wall and the exterior, which was strengthened with
+round towers, a space of some fifteen feet remained. This was divided
+into eleven compartments, corresponding with the eleven naves of the
+mosque, that in the centre being destined for the sanctuary, and the
+others being reserved for the priests and other purposes. In this manner
+the “mihrab” was placed in the exact centre of the south side, with a
+wing on each side, of precise resemblance. In the west wing there was a
+secret passage leading from the mosque to the alcazar, which extended
+very near the west wall of the mezquita. The doors of this passage were
+arranged in a most intricate fashion, doubtless for the greater security
+of the palace, and they gave entrance to the interior of the
+“maksurrah,” a sumptuous reserved space, communicating on the north,
+east, and west with the great naves, and on the south forming part of
+the interior wall of the mosque. This “maksurrah” was a privileged spot,
+enclosed by a sort of wooden grating, elegantly worked on both faces,
+and surmounted by turrets, the object of which was to cut off all
+communication with the sultan. This screen, measuring twenty-two cubits
+to its summit, gives its name to that part of the edifice which it
+occupies. Its ornamentation, as well as that of the new part of the
+central nave, extending from the old to the new “mihrab,” is magnificent
+in the highest degree. The plan of the “maksurrah,” properly speaking,
+was a large rectangle, divided into three parts, almost square, from
+which rose three Byzantine domes of rare beauty.<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span></p>
+
+<p class="ills"><a name="ill_027" id="ill_027"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_041_lg.jpg">
+<img src="images/ill_041_sml.jpg" width="477" height="345" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_76" id="page_76">{76}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_028" id="ill_028"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_042_lg.jpg">
+<img src="images/ill_042_sml.jpg" width="479" height="314" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;INTERIOR VIEW.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_78" id="page_78">{78}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_029" id="ill_029"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_043_lg.jpg">
+<img src="images/ill_043_sml.jpg" width="479" height="339" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>INTERIOR VIEW OF THE MOSQUE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_80" id="page_80">{80}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_81" id="page_81">{81}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_030" id="ill_030"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_044_lg.jpg">
+<img src="images/ill_044_sml.jpg" width="475" height="317" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;GENERAL VIEW OF THE INTERIOR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>&nbsp; </p>
+
+<p>That in the centre served as a vestibule to the sanctuary, and was the
+most remarkable for its proportions, its outlines, and its decorations.
+This part of the mosque has been preserved in its principal features to
+the present day. The edifice has lasted nine centuries, and there is no
+indication that it will not endure for nine centuries more.</p>
+
+<p>Over the festooned arches, which intersect each other, rise seven light
+and graceful horse-shoe arches, which disappear into the south wall,
+thus closing the picture and terminating the lower body of the sumptuous
+vestibule. Above these double arches runs an impost, beautifully worked
+and very graceful, embracing and crowning the four façades, and dividing
+the cupola into two zones&mdash;an upper and a lower. On this impost rest
+beautiful columns in pairs, oversetting great bold semi-circular arches,
+arranged with such art that they seem to imitate the curves of the
+interlaced garlands of a choir of beautiful odalisques, as the arches do
+not go from each column to the corresponding one of the next couple, but
+leave the intervening pair open. In this way, as there are two pairs of
+columns supporting the impost in each façade, eight principal arches are
+formed in the space in two great quadrilaterals placed opposite each
+other, their springing stones crossing and forming eight points of a
+star. There is an octagonal ring in the centre with eight graceful
+pendants, as an embellishment to the capitals of the eight pairs of
+columns. A horseshoe arch from point to point, to which a tablet of
+alabaster is fitted, leaves an uncertain prospect of the vault of
+heaven, which shines upon the cupola and the profusion of rich mosaic
+work with which it is adorned.</p>
+
+<p>Between the elegant arches, which appear rather to hang from the cupola
+than to support it, the marvellous façade of the “mihrab” appears in the
+background, which<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> glistens in the rays of the setting sun like a piece
+of brocade loaded with jewels, and which must have been dazzling as a
+fairy palace when, in the month of Ramadhan, the fourteen hundred and
+fifty-four lights of the great lamp shone under this enamelled
+“half-orange.” This façade, in spite of its marvellous richness, does
+not show the smallest confusion in its ornamentation, each line is
+traced with the idea of giving greater beauty to the arch which forms
+the entrance to the sanctuary. It is composed of the arch with its
+spacious architrave and its smooth jambs with small columns, together
+with its “arraba” surrounded by Grecian frets, and a light series of
+arches without vacuums, upon which rest the imposts which divide the
+upper and lower bodies of the dome. But such is the profusion and
+splendour of the ornamentation of each of these parts that it is
+impossible to describe them. The keystones, the architrave, the circle
+drawn in squares, the panels, the trefoil arches and the tympana are
+incomparable, and the combination of Grecian frets with Persian and
+Byzantine ornaments and geometrical figures is as beautiful as it is
+bewildering. These last, moreover, do not preponderate as was the case
+later in the degenerate Mussulman ornamentation proper. Here the Grecian
+frets are the most important, being combined in a thousand different
+ways, the stems and leaves tracing the most graceful curves, and all
+uniting to form an elegant border, of the most capricious tracery. The
+whole of this ornamentation is of marble, delicately carved, now smooth
+and white, now covered with minute mosaic of various colours, and loaded
+with crystal and gold. The inscriptions seen here are also in gold, on a
+ground of crimson, or ultra-marine, alternating with the shining
+“sofeysafa.”</p>
+
+<p>“Sofeysafa” is an obscure word, which Don Pascual de Gayangos believes
+to be a transposition of the Arabic<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p>
+
+<p class="ills"><a name="ill_031" id="ill_031"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_045_lg.jpg">
+<img src="images/ill_045_sml.jpg" width="345" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE CENTRAL NAVE OF THE MOSQUE&mdash;961-967.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_87" id="page_87">{87}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_032" id="ill_032"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_046_lg.jpg">
+<img src="images/ill_046_sml.jpg" width="369" height="475" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;CHIEF ENTRANCE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_88" id="page_88">{88}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_89" id="page_89">{89}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_033" id="ill_033"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_047_lg.jpg">
+<img src="images/ill_047_sml.jpg" width="472" height="403" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>INTERIOR VIEW OF THE CATHEDRAL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_90" id="page_90">{90}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_91" id="page_91">{91}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_034" id="ill_034"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_048a_lg.jpg">
+<img src="images/ill_048a_sml.jpg" width="297" height="212" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>INTERIOR OF THE MOSQUE&mdash;LATERAL NAVE.</p></div>
+</div>
+
+<p class="ills"><a name="ill_035" id="ill_035"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_048b_lg.jpg">
+<img src="images/ill_048b_sml.jpg" width="297" height="210" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>INTERIOR OF THE MOSQUE&mdash;EAST SIDE.</p></div>
+</div>
+
+<p><a name="plt_XVII" id="plt_XVII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XVII.<br />CORDOVA.</p></div>
+<a href="images/ill_049_lg.jpg">
+<img src="images/ill_049_sml.jpg" alt="[Image unavailable.]" /></a>
+</div>
+
+<p><a name="plt_XVIII" id="plt_XVIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XVIII.<br />CORDOVA.</p>
+</div>
+
+<a href="images/ill_050_lg.jpg">
+<img src="images/ill_050_sml.jpg" width="422" height="569" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Detail of one of the niches of the Cupola.</p>
+
+<p>Mosaic keystones of the great arch of the Mihrab.</p></div>
+<div class="captionss">
+<p>Details of the Mihrab.</p></div>
+</div>
+
+<p><a name="plt_XIX" id="plt_XIX"></a></p>
+
+<div class="figcenter">
+
+<div class="captionss"><p>PLATE XIX.<br />CORDOVA.</p>
+
+</div>
+<div class="caption">
+
+<p>Cufic inscription, over the arch of the Mihrab.</p></div>
+<a href="images/ill_051_lg.jpg">
+<img src="images/ill_051_sml.jpg" width="565" height="409" alt="[Image unavailable.]" /></a>
+
+</div>
+
+<p><a name="plt_XX" id="plt_XX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XX.<br />
+CORDOVA.</p>
+</div>
+
+<a href="images/ill_052_lg.jpg">
+<img src="images/ill_052_sml.jpg" width="569" height="412" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Pieces of Wood used in the ancient covering of the Mosque.</p></div>
+<div class="captionss">
+<p>Details of the Interior of the Mosque.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_92" id="page_92">{92}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_93" id="page_93">{93}</a></span>&nbsp; </p>
+
+<p class="nind">word Foseyfasa,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> signifying enamel work of exceptional brilliancy,
+laid down by Greek workmen whom Abd-er-Rahman had brought to Cordova for
+the task.</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> <i>Foseyfasa.</i> Gayangos tells us that the word is not in the
+Dictionaries, but that, according to an old Arabian writer, it is a
+substance of glass and small pebbles, crushed and baked together,
+uniting, with great variety of colour, great brilliancy, and beauty; it
+is sometimes mixed with silver and gold. One of the conditions of peace
+granted to the Emperor of Constantinople by the Khalif, Al-waléd, was
+that the Emperor should provide a certain quantity of <i>foseyfasa</i>, or
+enamelled work, for the great mosque at Damascus. Idrisi, in his
+description of the mosque of Cordova, says that the enamel which covered
+the walls of the “mihrab,” came from Constantinople.</p></div>
+
+<p>Two columns are built into the jamb of the entrance arch to the
+sanctuary&mdash;one of black marble, the other of jasper, with lavishly
+carved capitals. If his blind enthusiasm did not deceive El-Makkari, the
+four columns were of green jasper and lapis-lazuli, two of each. An
+impost rests upon them as a cornice, and from this the arch springs; and
+on the impost an inscription in golden characters upon a crimson ground
+is written, which has the following meaning:</p>
+
+<p>“In the name of God, clement and merciful, let us give praise to Him,
+who directed us to this, for we could not have directed ourselves if we
+had not been directed by God, for which purpose the deputies of our Lord
+came with the truth. The priest Al-mostaner Billah Abdallah Al-Hakam,
+Prince of the Faithful&mdash;may God be faithful to him&mdash;ordered the
+president and prefect of his court, Giafar ben Abd-er-Rahman&mdash;may God be
+pleased with him&mdash;to add these two columns, since he laid the
+foundations in the holy fear of God, and with His good pleasure. This
+work was concluded in the month of Dhilhagia of the year 354 of the
+Hegirah.”</p>
+
+<p>From this inscription it would seem that two of the columns supporting
+the arch of “sofeysafa” were placed there by order of Hakam II., and
+that the others belonged to the old “mihrab,” which had been demolished
+in order to lengthen the mosque; but no one is capable of saying to-day
+whether the black marble columns, or the jasper,<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> were those added by
+the order of the magnificent khalif; and whether the inestimable gift
+which was deemed worthy of being commemorated in letters of gold was of
+lapis-lazuli or not. “God alone knows!”</p>
+
+<p>The sanctuary is a small heptagonal space, with a pavement of white
+marble, a socle formed by seven great slabs of the same, and a dome,
+also of marble, shaped like a shell and made of a single piece, edged
+with an elegant moulding. The seven sides of the heptagon are decorated
+with exquisite trefoiled arches, supported by marble columns, with gilt
+capitals of delicate workmanship; the columns resting on a cornice,
+below whose modules runs a fascia, or fillet, of gilded characters
+carved in the marble of the slabs, which form the socle, or
+sub-basement.</p>
+
+<p>Within this sanctuary was kept the famous “nimbar” of Hakam II., which
+was a sort of pulpit, according to the Arab historian, unequalled in the
+world, either for its materials or its workmanship. It was of ivory and
+precious woods&mdash;ebony, red and yellow sandal, Indian aloe, &amp;c.&mdash;and the
+cost of it was 35,705 dineros and three adirmames. It had ten steps, and
+was said to consist of 37,000 pieces of wood joined by gold and silver
+nails, and incrusted with precious stones. It took nine years to build,
+eight artificers working at it each day. This pulpit, which must have
+been of mosaic of wood, jewels and metals of price, was reserved for the
+khalif, and in it was deposited also the chief object of veneration of
+all the Mohammedans of Andalusia, a copy of the Koran, supposed to have
+been written by Othman, and still stained with his blood. This copy was
+kept in a box of golden tissue studded with pearls and rubies, and
+covered with a case of richest crimson silk, and was placed on a desk or
+lectern, of aloe wood with golden nails. Its weight was so
+extraordinary, that two men could scarcely<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
+
+<p class="ills"><a name="ill_036" id="ill_036"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_053a_lg.jpg">
+<img src="images/ill_053a_sml.jpg" width="293" height="231" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;DETAIL OF THE GATE.</p></div>
+</div>
+
+<p class="ills"><a name="ill_037" id="ill_037"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_053b_lg.jpg">
+<img src="images/ill_053b_sml.jpg" width="300" height="236" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>THE MOSQUE&mdash;FAÇADE OF THE ALMANZOR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_038" id="ill_038"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_054_lg.jpg">
+<img src="images/ill_054_sml.jpg" width="383" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>VIEW IN THE MOSQUE&mdash;961-967.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_039" id="ill_039"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_055_lg.jpg">
+<img src="images/ill_055_sml.jpg" width="279" height="479" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;A GATE ON ONE OF THE LATERAL SIDES.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_100" id="page_100">{100}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_040" id="ill_040"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_056_lg.jpg">
+<img src="images/ill_056_sml.jpg" width="375" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;SIDE OF THE CAPTIVE’S COLUMN.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span>&nbsp; </p>
+
+<p class="nind">carry it. It was placed in the pulpit in order that the Imam might read
+in it during the “azala;” and when the ceremony was concluded, it was
+carried to another place, where it remained, carefully guarded, with the
+gold and silver vases destined for the great celebration of Ramadhan.</p>
+
+<p>The chronicler, Ambrosio de Morales, says that the “nimbar” was a sort
+of chariot on four wheels, and that it had but seven steps. It was to be
+seen in the cathedral of Cordova as late as the middle of the sixteenth
+century, when it was dismembered, and its materials employed in the
+construction of a Christian altar.</p>
+
+<p>The place, which from the slight indications of Edrisi appears to have
+served as treasure-room, was a sort of chapel, which is situated to-day
+not far from the site of the ancient “mihrab,” to the north of the
+present “maksurrah.” In this way it can easily be supposed that the
+noblest apartment of the mosque was completely closed to the people on
+the north and south sides; and, being occupied by the principal
+personages of the court, it would have been difficult for any
+irreverence to have been shown to the Imam or to the venerated
+“Mushaf”&mdash;Koran. The two “maksurrahs” remained, the one facing the
+other, both occupying exactly the same space; that is, at least, from
+east to west, supposing that they cut the three centre naves of the
+eleven which are in the mosque. Both these “maksurrahs,” or screens,
+have disappeared; and at the present time we cannot form the slightest
+idea as to their design. Almost the only thing which has remained intact
+of that time is the sumptuous space of the three chapels occupied by the
+“maksurrah” of Hakam; and of the spaces occupied by the old
+“maksurrahs,” only two disfigured chapels exist&mdash;that of the chief nave,
+and that of the next nave to the east. The latter is divided into two
+parts by a platform some<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> feet above the floor of the mosque. In the
+upper portion the “Alicama” or preliminary for the prayer was made; and
+in the lower part, which still has the form of an underground chapel,
+the treasure was kept. The centre chapel, the present Chapel of
+Villaviciosa, was reserved for the khalif when he did not act as Imam;
+and in the west chapel, which exists no longer, was the seat of the Cadi
+of the Aljama. No trace of the original interior decoration of these
+chapels remains at the present day, and externally, only the arches
+facing the “mihrab,” and which are similar to those of the façade of the
+vestibule, are left.</p>
+
+<p>When everything had been completed internally to the satisfaction of
+Hakam, it occurred to him that the fountains in the Court of Ablutions
+did not harmonise with the grandeur of the mosque; he therefore
+commanded that they should be replaced by four splendid founts, or
+troughs, each cut out of a single piece of marble&mdash;two for the women in
+the eastern part, and two for the men in the west. It was his wish that
+these basins should be of magnificent proportions, and made from the
+same quarry. The work took much time, engaged many people, and
+necessitated the expenditure of a great deal of money; but it was
+happily executed, and the troughs were brought to their destination by a
+sloping way, specially constructed for the purpose, on great carts, each
+drawn by seventy stout oxen. The water, which was brought by the
+aqueducts of Abd-er-Rahman II., and was stored in a great reservoir
+covered with marble, flowed night and day; and after supplying the wants
+of the mosque, was carried off by three conduits to feed as many
+fountains for public use in the north, east, and west of the city.</p>
+
+<p>The great Vizier, Almanzor, considerably enlarged the mosque; many
+Christians, loaded with chains, being employed amongst the workmen. The
+eastern wall was thrown<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p>
+
+<p class="ills"><a name="ill_041" id="ill_041"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_057_lg.jpg">
+<img src="images/ill_057_sml.jpg" width="396" height="554" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>MOSQUE, NORTH SIDE&mdash;EXTERIOR OF THE CHAPEL OF ST. PEDRO.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_042" id="ill_042"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_058_lg.jpg">
+<img src="images/ill_058_sml.jpg" width="383" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>GENERAL VIEW OF THE INTERIOR OF THE CHAPEL OF THE MASURA AND ST.
+FERDINAND.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_043" id="ill_043"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_059_lg.jpg">
+<img src="images/ill_059_sml.jpg" width="382" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>DETAIL OF THE CHAPEL OF MASURA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_044" id="ill_044"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_060_lg.jpg">
+<img src="images/ill_060_sml.jpg" width="355" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;ELEVATION OF THE GATE OF THE SANCTUARY OF THE KORAN.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span>&nbsp; </p>
+
+<p class="nind">down, and the foundations of a new wall were laid one hundred and eighty
+feet from the old one, throughout the entire length from north to south.
+In the covered part of the building eight great naves were added, all of
+equal size, and having the same number of arches as those already
+existing; so that the thirty-three minor naves, which cut the principal
+naves at right angles, were lengthened one hundred and eighty feet,
+running from east to west. The new part formed thirty-five transverse
+naves, where there had formerly been only thirty-three, because the
+wing, with the residences which fell to the east of the “mihrab” which
+was not lengthened, occupied the space of the two extra naves. The
+prolongation of the minor naves was not carried out with the slavish and
+monotonous uniformity of modern days. The Arab architects did not
+understand symmetry as we do to-day, and they satisfied themselves with
+producing unity by means of variety, without seeking a forced
+correspondence of similar parts. In the part added by Almanzor it was
+considered useless to give the same dimensions to the buttresses of the
+north wall as the primitive wall possessed, and consequently a space of
+six feet in length was gained from the principal naves at the north
+side. But as this extra width could not be given to the first of the
+lesser naves, as the height of the columns would not allow of it, the
+architect doubtless thought that instead of dividing up this small
+excess equally among the thirty-three arches in the length from north to
+south, it would be preferable and more effective to preserve the first
+three or four naves in line, adding a nave in the space gained by the
+diminution in the bulk of the buttresses, and by enlarging the
+succeeding naves wherever it seemed most convenient. As a result of
+this, the first transverse nave of the lengthened part, on account of
+the great narrowness of its intercolumniation, was not<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> able to preserve
+the full span of its arches. It was necessary, therefore, to bring the
+latter nearer together and to break their curve, in order to keep the
+desired height, and thus probably for the first time, Pedro de Madrazo
+considers, was seen in the edifices of Arab Spain, the pointed arch
+which was destined to totally change the physiognomy of monumental art
+in the Middle Ages.</p>
+
+<p>The arch, broken in this manner at the culminating point of its curve,
+presently adopted in this small nave all the varieties of decoration to
+which it was susceptible. Here in effect, in this small space of barely
+seven feet wide and one hundred and eighty-five long, architecture
+exhausted at one time, and at the first attempt, all the shapes of
+arches, which were to be employed in the four following centuries; a
+circumstance which was quite fortuitous. It was not the intention to
+dissimulate the enlargement of which we are speaking; on the contrary,
+it was decided to signalise it in an unmistakable manner, for which
+purpose a row of stout pillars was raised, where the old east wall
+stood, and where at present is the dividing line between the eleventh
+and twelfth greater naves, the pillars of which were suitably united to
+each other by great arches, springing from beautiful columns in pairs,
+built into the pillars. The old classical art would never have confided
+such wide spaces to supports so delicate as are these columns, which in
+couples send the bold festooned arches, which serve as an opening to the
+edifice of Almanzor, across to the opposite pair. But the architects of
+the time of Abd-er-Rahman I. and of Hakam II. had already successfully
+attempted a similar feat in the grand arcade of the inner façade, which
+looks on the Court, and in the strengthening arcade which divides the
+primitive mosque from its prolongation to the south, so there was no
+reason to fear its repetition. To-day we pass, with a certain respect,<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
+
+<p class="ills"><a name="ill_045" id="ill_045"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_061_lg.jpg">
+<img src="images/ill_061_sml.jpg" width="329" height="472" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;GATE OF THE SANCTUARY OF THE KORAN.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_046" id="ill_046"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_062_lg.jpg">
+<img src="images/ill_062_sml.jpg" width="351" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;MOSAIC DECORATION OF THE SANCTUARY, 965-1001.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_047" id="ill_047"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_063_lg.jpg">
+<img src="images/ill_063_sml.jpg" width="388" height="569" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;RIGHT-HAND SIDE GATE WITHIN THE PRECINCTS OF THE
+“MAKSURRAH.<span class="pagenum"><a name="page_121" id="page_121">{121}</a></span><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span>”</p></div>
+</div>
+
+<p class="ills"><a name="ill_048" id="ill_048"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_064_lg.jpg">
+<img src="images/ill_064_sml.jpg" width="388" height="404" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;SECTION OF THE CUPOLA OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span>&nbsp; </p>
+
+<p class="nind">under these bold arches of eight metres elevation, and six, seven, and
+even eight metres in width, when we consider that they rest on columns
+of some three metres high, including their capitals; and only the
+stoutness of the pillars into which these graceful pairs are built
+assures us that they will not fall to the ground, wearied with such a
+supernatural effort.</p>
+
+<p>For the greater solidity of the wide edifice, added by Almanzor, a line
+of great pillars and arches, which marked the southern limit of the
+original mosque, was lengthened as far as the eastern wall, crossing at
+right angles the strengthening arcade already mentioned stretching from
+north to south; so that the actual Aljama was divided into four unequal
+parts, separated from each other, probably, by wooden screens and
+partitions. The part added by Hakam II., at whose extremities rose the
+old and the new “maksurrah,” was called “The Noble Apartment,” and was
+reserved for the nobility and the personages of the Court, the portion
+close to the “mihrab” being occupied by the ulema, alkatibes, almocries,
+and other ministers of the temple, and the Imam. The three remaining
+parts were for the people, and most likely the sexes were divided, for
+it is certain, from the assurances of an historian cited by Ahmed
+El-Makkari, that there were two doors inside the naves leading to the
+women’s part.</p>
+
+<p>The art of the decorations of Almanzor’s prolongation is not
+particularly attractive, the arches seem to be copied from those of the
+old door, and the only circumstance worthy of mention is that all the
+capitals of the columns are equal, and of the same form, in contrast
+with the great variety and richness of the capitals in the primitive
+mosque, and in the additions of Hakam II. The delicate and uniform
+construction of the mighty “hagib” may be mentioned as a purely
+archæological item, and also that the<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> names of the artificers who made
+them are frequently to be seen in the foundations and shafts of the
+columns: <i>e.g.</i>, Mondair, Mostauz, Motobarack, Fayr, Masud, Tasvir,
+Nassar, Kabir, Amin, Jalem-al-Amery, Hachchi, Tsamil, Bekr, Casim.</p>
+
+<p>With the part added by Almanzor, the mosque is said to have formed a
+great rectangular quadrilateral 742 feet long from north to south, and
+472 feet wide from east to west, enclosed by four great battlemented
+walls, fortified with square watch-towers, varying in height. The south
+wall, which reached a formidable height on account of the declivity of
+the ground, was adorned with nineteen towers, including those flanking
+it at both angles, which were more spacious and common to the two walls
+of east and west. The western wall had fourteen towers, and the north
+five, including the majestic minaret over the principal door; and,
+finally, the eastern wall was fortified by ten towers, all corresponding
+to the part which had to bear the pressure of the naves, and the wall of
+the Court at that side had no towers at all. The greater number of these
+towers remain, and the wide old walls also exist.</p>
+
+<p>There were twelve outer gates to the mosque, ten leading into the
+edifice, and twenty-one interior doors, without counting those of the
+dependencies to the temple and that of the khalif’s private passage,
+nineteen in the façade of the courtyard, and two which led to the
+women’s part of the building. All the outer doors were for the most part
+rectangular, formed by arched lintels set into ornamented horseshoe
+arches, their keystones were either white, or of alternate colours, the
+white being richly decorated with stucco ornaments in relief, and the
+coloured with beautiful mosaic of red and yellow brick, cut into tiny
+pieces. The horseshoe arch is set in a beautiful frame,</p>
+
+<p><a name="plt_XXI" id="plt_XXI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXI.</p></div>
+<a href="images/ill_065_lg.jpg">
+<img src="images/ill_065_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>White marble pilaster of principal nave.</p>
+
+<p>Ornaments and arches in the Mihrab.</p>
+
+<p class="nind">keystones of chapel of the</p>
+
+<p>Capitals rough-hewn.</p>
+
+<p>Finished capital specimen of Arabian sculpture.</p></div>
+</div>
+
+<p><a name="plt_XXII" id="plt_XXII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXII.<br />CORDOVA.</p>
+<a href="images/ill_066_lg.jpg">
+<img src="images/ill_066_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Details of Moorish Work.</p></div>
+</div>
+
+<p><a name="plt_XXIII" id="plt_XXIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXIII.</p></div>
+<a href="images/ill_067_lg.jpg">
+<img src="images/ill_067_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Details, Villaviciosa Chapel and Mihrab.</p></div>
+</div>
+
+<p><a name="plt_XXIV" id="plt_XXIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXIV.</p></div>
+<a href="images/ill_068_lg.jpg">
+<img src="images/ill_068_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Details of Moorish Work.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<p class="ills"><a name="ill_049" id="ill_049"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_069_lg.jpg">
+<img src="images/ill_069_sml.jpg" width="355" height="481" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;DOME OF THE SANCTUARY.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_050" id="ill_050"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_070_lg.jpg">
+<img src="images/ill_070_sml.jpg" width="249" height="321" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE.</p>
+
+<p>ROOF OF THE CHAPEL OF THE MASURA AND ST. FERDINAND.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_051" id="ill_051"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_071_lg.jpg">
+<img src="images/ill_071_sml.jpg" width="334" height="480" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>VILLAVICIOSA CHAPEL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_052" id="ill_052"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_072_lg.jpg">
+<img src="images/ill_072_sml.jpg" width="392" height="481" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;DETAIL OF THE HALL OF CHOCOLATE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span>&nbsp; </p>
+
+<p class="nind">richly ornamented as are the tympana between the arch and the lintel,
+the facias and the little windows of perforated alabaster, which, now
+enclosed in arches resting on little marble pillars and grouped in
+graceful pairs, flank the door. Some of these have projecting cornices
+forming a parapet with small dentalated towers, which give the sacred
+building the appearance of a fortress, and recall the warlike origin of
+the Mohammedan religion. All the outer gates have inscriptions, with
+invocations and verses taken from the Koran.</p>
+
+<p>Hakam II. had an apartment constructed in the western part of the
+temple, which was to serve for the distribution of alms, and here any
+poor wanderer, who happened to be in the city without protection or
+means of subsistence, could obtain the wherewithal to continue his
+journey. For this purpose the khalif endowed the establishment in a
+splendid manner. It was not exactly a hostel, as its space was too
+limited; and, besides, Hakam had already established other places of
+lodging for poor travellers outside the mosque, one of these being quite
+near this “Dar-as-asdaca,” or “Alms Chamber.” Poor students, too, were
+looked after, and received a daily meal, and even small sums of money.
+The wise men received annual pensions from the treasury, according to
+their merit and personal circumstances.</p>
+
+<p>The Alms Chamber was, properly speaking, only intended for the
+distribution of alms to the poor. Its beautiful door, to-day blocked up,
+can still be seen, both inside and out, in the wall of the mosque, and,
+according to El-Makkari, it was the most beautiful of the western side.
+It is no longer possible to form an exact idea of the aspect of the
+chamber as it was when Hakam II. completed its decoration. He covered it
+with gilded and painted stucco<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span> work, which turned its walls into
+beautiful filigree, and to-day this apartment is half forgotten, after
+having served as a vestibule to the first Christian cathedral of
+Cordova. No one would think that this place, beyond St. Michael’s
+postern, and separated from the body of the building by a wretched
+partition and a door of pine-wood, is the ancient “Dar-as-asdaca.” For
+many years it was used as a Chapter Hall, and the archives of the
+extinct music-school, with its choir books, were kept here.</p>
+
+<p>The actual dimensions of the mosque varied at different periods, and are
+difficult to establish. One authority says, that in length from north to
+south the mosque measured six hundred and forty-two feet, in width four
+hundred and sixty-two feet. Mr. Waring, in his <i>Notes of an Architect in
+Spain</i>, describes the mosque as an oblong of three hundred and
+ninety-four feet by three hundred and sixty feet. The famous Orange
+Court is in length two hundred and twenty feet, and, being within the
+boundary walls of the mosque, it is probably included in the former
+measurement.</p>
+
+<p>It is also impossible to fix, with any degree of certainty, the number
+of columns contained in the mosque during the time of Mohammedan
+supremacy. Ambrosio de Morales, and the Infante Don Juan Manuel, both of
+whom described the mosque before the columns were reduced in number by
+the alterations to which the building has been subjected, estimate the
+figures at one thousand and twelve, but it is only too certain that when
+the mosque was converted into a Christian church very many were removed
+to make room for altars and chapels.</p>
+
+<p>No less than one hundred columns were comprised within the “maksurrah,”
+which was further provided with three doors of exquisite workmanship,
+one of which was<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<p class="ills"><a name="ill_053" id="ill_053"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_073_lg.jpg">
+<img src="images/ill_073_sml.jpg" width="420" height="496" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>ENTRANCE TO THE VESTIBULE OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_054" id="ill_054"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_074_lg.jpg">
+<img src="images/ill_074_sml.jpg" width="372" height="481" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>MIHRAB OR SANCTUARY OF THE MOSQUE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_055" id="ill_055"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_075_lg.jpg">
+<img src="images/ill_075_sml.jpg" width="383" height="475" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;ARCH AND FRONT OF THE ABD-ER-RAHMAN AND MIHRAB CHAPELS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_056" id="ill_056"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_076_lg.jpg">
+<img src="images/ill_076_sml.jpg" width="552" height="427" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>ENTRANCE TO THE CHAPEL OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span>&nbsp; </p>
+
+<p class="nind">covered with plates of pure gold, as were the walls of the “mihrab.” The
+floor of the “maksurrah,” it is said, was paved with silver, and the
+pavements adjacent to it were covered with “sofeysafa.”</p>
+
+<p>The ceiling of the mosque was formerly covered with oval cartouches,
+bearing appropriate monitory inscriptions and pious sentences&mdash;such as,
+“Be not one of the negligent,” “Felicity,” “Blessing,” “There is no God
+but God, to whom all beings address themselves in their need”&mdash;thus
+inciting the minds of the faithful to contemplation and prayer. Some few
+of the cartouches are still remaining; but the inscriptions were, for
+the most part, carefully effaced when the mosque was transformed into a
+Christian temple. Those in the “mihrab,” and in the angles near the
+tower, may yet be seen.</p>
+
+<p>The number of brazen chandeliers of different sizes in the mosque is
+computed at upwards of two hundred, and the number of cups attached, and
+containing oil, at upwards of seven thousand. Some of the oil-reservoirs
+for the great lamps were Christian bells, deprived of their clappers;
+inverted, and suspended from the roof. It is known that in the many
+expeditions against the Christian, bells were frequently removed from
+the churches and brought to Cordova. Sometimes the metal of the bells
+was recast into forms more in accordance with the Moorish style of
+ornament.</p>
+
+<p>The following rites had to be observed in the service of the mosque: The
+ornaments were to consist only of brass, silver or glass lamps, which
+were lighted at night when the doors were opened for prayer. Some
+striking design was painted on the west wall, in order that the faithful
+should look in that direction. There was only one pulpit, which was on
+wheels, as the sermon was preached from any spot the Talvi wished.<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<p>The courts of the mosque were paved with porcelain tiles, over which
+pure water could flow. Those who did not wash themselves at home were
+obliged to do so in the Court of Ablutions before entering the sacred
+precincts. All shoes had to be left at the door of the mosque, and no
+buildings, such as inns and hostelries, and disreputable houses, were
+allowed in the neighbourhood. No Jews were allowed to pass before it.
+Women were not permitted to enter some mosques, because they were not
+circumcised, the sultana alone having an oratory, where she prayed for
+all women.</p>
+
+<p>At midnight a mezzin mounted the minaret, and cried out: “God is great,
+to pray is better than to sleep”; at two o’clock in the morning he said
+the same; at four o’clock he placed a lantern at the end of a rod and
+said, “Day is breaking, let us praise God”; at the fourth prayer he
+hoisted a white flag, which was lowered at one o’clock, saying, “God is
+great.” Friday was their feast day, and a blue banner was hoisted at
+dawn, and left floating till half-past ten. The fifth prayer was at four
+o’clock in the afternoon, in winter at three; when the evening star
+appeared, the sixth prayer was called out; and at nine o’clock the last
+prayer of the day was said. Sand glasses were employed to mark the
+passage of the hours.</p>
+
+<p>The state of Cordova died with Almanzor; and the races, who alternately
+took possession of the throne, did not leave the least trace in the
+mosque. Finally, St. Ferdinand, King of Castile and Toledo, completely
+routed the Moors, and the mezquita was purified and dedicated to Our
+Lady of the Assumption. The following is an extract from the archives of
+the cathedral: “Let it be known that I, Ferdinand, by the grace of God,
+King of Castile, with the consent and approval of Dona Berenguele, my
+Mother, and<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
+
+<p class="ills"><a name="ill_057" id="ill_057"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_077_lg.jpg">
+<img src="images/ill_077_sml.jpg" width="353" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>VIEW OF THE INTERIOR OF THE MIHRAB CHAPEL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_058" id="ill_058"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_078_lg.jpg">
+<img src="images/ill_078_sml.jpg" width="370" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;DETAILS OF THE INTERIOR OF THE CHAPEL OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_059" id="ill_059"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_079_lg.jpg">
+<img src="images/ill_079_sml.jpg" width="389" height="498" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;MARBLE SOCLE IN THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_060" id="ill_060"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_080_lg.jpg">
+<img src="images/ill_080_sml.jpg" width="398" height="464" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>BASEMENT PANEL OF THE FAÇADE OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span>&nbsp; </p>
+
+<p class="nind">of Dona Juana, the Queen my wife, and of my children, Alfonso,
+Frederico, and Ferdinand, make a deed of gift to God of the Cathedral
+Church of Santa Maria of Cordova, and to you, Master Lope, my beloved
+chosen Bishop of the same, from now on, and to your successors, and the
+Chapter of Canons, &amp;c. November 12th, 1238.” This pious monarch founded
+a chapel dedicated to St. Clement, which was erected against the south
+wall, embracing the space occupied by three naves from east to west, and
+by four transverse naves from north to south. This space was shut in
+with walls, leaving the two Arab arches inside intact, the altar
+dedicated to the saint being placed against the east wall. Many nobles
+followed the king’s example, and founded chapels, amongst them being
+that of St. Inez, erected by Piedro Diaz de Haro, in 1250, in the tenth
+principal nave, counting from the west wall, also against the south
+wall, and only occupying two transverse naves. St. Ferdinand endowed the
+cathedral so richly that on his death its benefices were very
+considerable. He was succeeded by his son, Alfonso X., who showed the
+same religious spirit as his father, giving large grants to the funds of
+the cathedral; and, in the year 1258, erecting the grand chapel,
+conceding many privileges to the work and the fabric. The donations made
+by other Christians up to this time had been of a very modest nature;
+and, as the Jews of Cordova were expending great sums on the erection of
+a synagogue, it seems as though the Christians were shamed into greater
+generosity to the cathedral, for at the same time the famous commander,
+Domingo Muñoz, erected the chapel of St. Bartholomew, and the chapter
+and the king decided to turn the mosque into a real Christian cathedral
+in developing Western architecture. The commander made his chapel in the
+angle formed by the inner south wall and the west<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> side of the
+vestibule, or “maksurrah,” of Hakam II., taking the area of two
+principal and two transverse naves. As this chapel could not be lighted
+from outside on account of the west wing of the “mihrab,” and the
+khalif’s secret passage being behind, it was illuminated with light from
+the temple, a pointed door and four windows being made in the north
+wall.</p>
+
+<p>The chapter set about their work with more splendour. They selected the
+three first transverse naves of the noble apartment, beginning at the
+re-inforcing wall, which marks the prolongation of Hakam, giving to the
+single nave that they opened a length of one hundred feet from the inner
+door of the Alms Chamber to the central apartment of the three enclosed
+in the old “maksurrah.” They made the Alms Chamber into a vestibule,
+leaving the re-inforcing wall as it was without touching the bold
+ultra-semi-circular arches resting on pairs of columns; they pulled down
+the cadi’s apartment in order to make way for the transept, and also the
+three transverse naves it had occupied. The three columns in front of
+the Arab pillars, which stood in the length from east to west, were
+pulled down too, and three handsomer pillars were erected in their
+place, fortified at right angles by walls in the manner of buttresses,
+which intercepted the entire width of one transverse nave. Great pointed
+arches sprang from pillar to pillar, corresponding with the horse-shoe
+arches in front; a light and graceful dome stretched from one side to
+the other, divided into four compartments by three great arches, of
+which that nearest to the sanctuary rested on high columns, and the
+other two on well-carved brackets, with open-work borders suspended at a
+regular height above the spaces. Finally, they took the central
+apartment of the ancient “maksurrah,” where we presume the khalif sat,
+and erected there the Grand Chapel.<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
+
+<p class="ills"><a name="ill_061" id="ill_061"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_081_lg.jpg">
+<img src="images/ill_081_sml.jpg" width="384" height="484" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;FRONT OF THE TRASTAMARA CHAPEL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_062" id="ill_062"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_082_lg.jpg">
+<img src="images/ill_082_sml.jpg" width="410" height="516" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>GENERAL VIEW OF THE CHAPEL OF VILLAVICIOSA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_063" id="ill_063"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_083_lg.jpg">
+<img src="images/ill_083_sml.jpg" width="415" height="521" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>NORTH ANGLE OF THE CHAPEL OF VILLAVICIOSA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_064" id="ill_064"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_084_lg.jpg">
+<img src="images/ill_084_sml.jpg" width="482" height="383" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>VILLAVICIOSA CHAPEL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span>&nbsp; </p>
+
+<p>This chapel was built at the king’s expense, for which the grateful
+chapter resolved to celebrate the anniversary of his death, a practice
+which has been faithfully observed to the present day.</p>
+
+<p>The arrangement of this space was perfectly adapted for the purpose of a
+Grand Chapel; the other room adjoining to the east being converted into
+a sacristy. It was doubtless in the same condition as when finished by
+the architects of Hakam II. At the north side it had a horse-shoe arch
+corresponding with the re-inforcing wall of the same khalif, and on the
+east side it had a great arched window and two little doors at the
+sides, which communicated with the tribune of the “Alicama,” at the
+south side, giving a splendid example of the rich Byzantine style of the
+time of Hakam, and forming a combination of segment arches crossing in
+space and forming crosses of undulating ribbons in the
+intercolumniations, the whole being similar to the decoration displayed
+in front of the vestibule of the “mihrab.” We do not know how the west
+side was decorated, where this space was united with the apartment of
+the cadi, which had been pulled down. In order to convert this into a
+Grand Chapel it was not necessary to disfigure it completely; it was
+sufficient to fill up the great northern arch, which in the time of the
+khalifs was closed by the first “maksurrah,” and also to block up the
+great window at the east, communicating with the tribune of the
+“Alicama;” to leave the two little side doors open for communication
+with the sacristy, and to enlarge the sanctuary as much as necessary, to
+shut it in at the south side with glass windows, and to place the
+customary chancel at its opening. Perhaps no more than this was done;
+but who is capable to-day of saying how much respect the king’s
+architects had for Arab-Byzantine work?</p>
+
+<p>In the year 1260 Don Gonzalo Yanez, first gentleman<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> of Aguilar, founded
+the Chapel of St. John the Baptist. Five years later the Bishop Fernando
+de Mesa built the Chapel of Santiago, in the south-east corner, near the
+Chapel of St. Clement. This chapel was wide and commodious, and the Arab
+arches in its area were not disturbed. In 1263 King Alfonso X. had the
+ancient aqueducts repaired, and in 1275 Prince Ferdinand gave an order
+for four Moors, who should be free from taxation, to be kept at work in
+the building operations of the cathedral. Two of these were to be
+carpenters, and two masons. This privilege was confirmed several times
+in succeeding years, and a charter exists, dated Cordova, 25th October,
+1282, which orders that all the Moors living in the city, whether they
+were artificers or not, shall work for two days of the year in the
+cathedral. It was thought that these workmen would understand the
+repairing of Moorish work better than Christians, but the task was also
+meant as a humiliation. As time went on, these workmen, more or less,
+lost the traditions of their faith and their architecture, so that they
+were really of little service in preserving the original character of
+the edifice.</p>
+
+<p>In 1278 the first statue of St. Raphael the Archangel was placed on the
+top of the minaret. At that time Cordova was visited by the plague,
+which worked terrible destruction amongst the inhabitants. It is related
+that St. Raphael appeared to Friar Simon de Sousa, of the Convent of Our
+Lady of Mercy, and told him that God was moved with compassion, and that
+He would take away the visitation if a statue of St. Raphael himself
+were placed on the tower of the Cathedral, and if his Feast were
+celebrated properly every year. This was done, and the plague
+immediately ceased. A new chapel to St. Bartholomew was erected in 1280
+by Martin Muñoz, nephew of the famous commander Domingo Muñoz; and after
+this, the Chapel of St. Paul,<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<p class="ills"><a name="ill_065" id="ill_065"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_085_lg.jpg">
+<img src="images/ill_085_sml.jpg" width="396" height="433" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;CHAPEL OF VILLAVICIOSA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_066" id="ill_066"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_086_lg.jpg">
+<img src="images/ill_086_sml.jpg" width="413" height="487" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>ARAB TRIBUNE, TO-DAY THE CHAPEL OF VILLAVICIOSA, LEFT SIDE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_067" id="ill_067"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_087_lg.jpg">
+<img src="images/ill_087_sml.jpg" width="420" height="530" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>ANCIENT INSCRIPTION OF THE TIME OF KHALIFATE, FOUND IN AN EXCAVATION.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_068" id="ill_068"></a></p>
+<p class="ills"><a name="ill_069" id="ill_069"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_088_lg.jpg">
+<img src="images/ill_088_sml.jpg" width="530" height="314" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>THE MOSQUE.</p>
+
+<p>DETAIL OF THE TRASTAMARA CHAPEL.</p>
+</td><td class="pdd">&nbsp; &nbsp; </td>
+<td>
+<p>THE MOSQUE.</p>
+<p>CHAPEL OF TRASTAMARA, SOUTH SIDE.</p>
+</td></tr>
+</table>
+
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span>&nbsp; </p>
+
+<p class="nind">which belonged to the family of the Godois. Then followed the foundation
+of the Chapel of St. Nicholas, by a pious Archdeacon; and of the Chapels
+of St. Benedict, St. Vincent, and St. Giles, and that of Our Lady of the
+Snow.</p>
+
+<p>It was not thought wise to make any great efforts to introduce the art
+of the West into a city which could not as yet be considered sure of not
+falling again into the hands of the infidels. In the year 1369 Don
+Enrique, the Fraticide, came to the throne of Castile. He desired to
+carry out the wishes of his father, and to give him a place of sepulchre
+worthy of his high renown. For this purpose he ordered a Royal Chapel to
+be erected in the cathedral at the back of the Grand Chapel in the Arab
+Tribune, which served as a sacristy. He decided to bury here his
+grandfather, Don Fernando X., whose body had been laid under the grand
+chapel by order of his Queen, Constanza. This fabric must have taken
+some considerable time, for the stucco, wood and tile work are really
+wonderful. Mohammedan art had undergone a complete transformation; the
+grandiose Arab-Byzantine style had been succeeded by the effeminate
+Moorish school, first practised by the Almoravides, and after by the
+Almohades; and the Moorish architects and decorators of Cordova could
+not remain uninfluenced by the taste which had become general through
+the artificers who had renovated the Alcazar at Seville, and who had
+embellished the Alhambra at Granada. Nothing was more unlike the
+architecture of the days of Hakam II. than that employed now in the
+construction of the Royal Chapel. Two parts are noticed&mdash;an upper and a
+lower. The Moorish architect who directed the work had windows with
+ornamented arches in the new style opened in the east and west sides,
+which were longer than the others. He ordered, too, that Saracen art,
+emancipated from the Byzantine tradi<span class="pagenum"><a name="page_174" id="page_174">{174}</a></span>tions, should be stamped on the
+ornamentation of the four walls, and on the cupola that crowned them.
+These arches were given festoons with lobules, which boldly, though
+corruptly, hid the true object of the curves. They were also set in
+square compartments, forming many edges beautifully worked with hammer
+and chisel. The framings were crowned with beautiful little cornices of
+small interlaced and open-worked arches, and above them ran round all
+the four sides a wide facia of little pine-shaped domes, which imitated
+stalactites of crystallised gold, having a most surprising effect, and
+of a sort until then unknown in the most famous mosque of the West.</p>
+
+<p>In the east and west walls, which were the longest of the rectangle, the
+arches with lobules, which could not be opened, were in relief; and
+resting on the light cornice were two tablets with lions. There were
+four of these lions&mdash;two on the western and two on the eastern facia,
+equi-distant from one another; and from each lion to that which faced
+him sprang a great arch, whose facing projected some feet over the lower
+zone, and from each lion to that by his side sprang another great arch,
+which did not project beyond the facing of the lower wall. These four
+upper arches, each one with twenty-one trefoil lobules, formed a perfect
+square, their four supports being at an equal distance, thanks to the
+ingenious method of cutting the longer sides, putting the lions
+perpendicularly over the great lower arches. Once this difficulty was
+overcome it was doubtless an easy matter to raise the cupola, which was
+to crown the fabric. The ancient dome must have been similar to that
+which has been discovered in the Chapel of Villaviciosa, but it must
+have seemed poor in the eyes of King Henry II., so accustomed to seeing
+the Moorish cupolas with stalactites; so they placed a cornice on the
+arches described above, and on this<span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<p class="ills"><a name="ill_070" id="ill_070"></a></p>
+<p class="ills"><a name="ill_071" id="ill_071"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_089_lg.jpg">
+<img src="images/ill_089_sml.jpg" width="499" height="256" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>THE MOSQUE.<br />
+INTERIOR OF THE MIHRAB.</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>THE MOSQUE.<br />
+ARAB ARCADE ABOVE THE FIRST MIHRAB.</p>
+</td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_072" id="ill_072"></a></p>
+
+<p class="ills"><a name="ill_073" id="ill_073"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_090_lg.jpg">
+<img src="images/ill_090_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>THE MOSQUE.<br />
+DETAILS, ARCHES OF THE MIHRAB.</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>THE MOSQUE.<br />
+DETAIL OF THE MIHRAB.</p>
+</td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_074" id="ill_074"></a></p>
+
+<p class="ills"><a name="ill_075" id="ill_075"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_091_lg.jpg">
+<img src="images/ill_091_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>THE MOSQUE.<br />
+EXTERIOR OF THE CHAPEL OF THE MIHRAB.</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>THE MOSQUE.<br />GATE OF THE SULTAN.</p>
+</td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_076" id="ill_076"></a></p>
+
+<p class="ills"><a name="ill_077" id="ill_077"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_092_lg.jpg">
+<img src="images/ill_092_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>PRINCIPAL ENTRANCE TO THE MOSQUE.</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>DETAIL NEAR THE MIHRAB.</p>
+</td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span>&nbsp; </p>
+
+<p class="nind">rested the segments of the circle, which form the elegant and strange
+African cupola.</p>
+
+<p>The following distribution is seen in the lower portion: Towards the
+middle of the east side there is an arch formed of little domes with
+stalactites, slightly pointed, sufficiently deep, enclosed in a sort of
+framing of gilded stucco, forming beautifully interlaced branches. The
+square compartment finishes at the lower end in a wide facia, which runs
+on both sides on a high socle of minute and beautiful tiling, and
+between the complicated ornaments in relief circles are formed,
+enclosing the arms of Castile and Leon. To the right side, on this same
+facia, is an ornamental arch of eleven lobules enclosed in another
+framing, entirely covered with tracery in relief, sustained by two very
+slight columns, built into the wall. Joined to this is another arch,
+much lower, with seven lobules, also ornamented, and sustained by
+columns of the same style as those just described, bearing a shield with
+the same arms. The left side has the same ornamentation, with the
+difference that both the arches have seven lobules, because the wall has
+more frontage on this side: and another difference was that in the
+north-east corner it had an ornamentation of minute open-work instead of
+a shield. The wall opposite had the same distribution with a deep
+central arch and small arches at the side, with little columns in the
+Gothic style, which show already that the style is no longer purely
+Moorish, but a sort of base mixture of the decorative art of the East
+and the West. Perhaps we may consider this the true concession of the
+Moorish artificers to the art preferred by the Court, and as their final
+abandonment of the pure style, which had been traditional with them.</p>
+
+<p>In 1521 the Bishop Don Alonso Manrique obtained permission from the
+Emperor Charles V. to erect the<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span> Gothic cathedral, which is in existence
+to-day. Three years later, when he visited the buildings, the Emperor
+repented having given his permission. Indeed the Christian work appears
+cold and pallid by the side of that of the Arabs.</p>
+
+<p>As Amados de los Rios, a great Spanish antiquary and Orientalist, sings
+in his mournful requiem over the departed glories of the mosque:
+“Neither the sumptuous Christian fabric that to-day rises in the midst
+of those countless columns, nor all the treasures of art lavished upon
+it by the celebrated artists of the sixteenth century who erected it,
+nor that interminable series of chapels of every epoch which, resting
+against the walls of the mosque disfigure it; nor the clumsy angels that
+seem to suspend their flight to shed glory over the Divine service, nor
+the words of the Evangelist sounding from the seat of the Holy Spirit,
+can dispel or banish, in the slightest degree, the majesty of those
+wandering shades that in vain seek in the sanctuary the sacred volume
+whose leaves, according to tradition, were enamelled with the blood of
+the Khalif Othman, martyr to the faith. A world of souvenirs here
+enthrals the mind of the traveller as he gazes with a feeling of sorrow
+upon these profanations&mdash;works dedicated by the intolerant, yet sincere,
+faith of our ancestors; impelled by the desire of banishing for ever
+from that spot, consecrated to the law of Jesus, the spirit of Mohammed
+and the ghosts of his slaves that haunt it, and will for ever haunt it
+while it exists. For, in spite of the mutilations it has endured, and of
+the changes it has undergone, there is impressed upon it, by a superior
+ineradicable law, the seal of the art that inspired it, and the
+character of the people by whom it was planned and erected.”</p>
+
+<p>Don Amados is not alone in his eloquent, if unavailing, protest. When
+Charles V. observed St. Peter’s Chapel rising out of the very centre of
+the mosque, he rebuked the Bishop,<span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<p class="ills"><a name="ill_078" id="ill_078"></a></p>
+
+<p class="ills"><a name="ill_079" id="ill_079"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_093_lg.jpg">
+<img src="images/ill_093_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>THE GATES OF PARDON.</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>THE BISHOP’S GATE.</p>
+</td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_080" id="ill_080"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_094_lg.jpg">
+<img src="images/ill_094_sml.jpg" width="378" height="493" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;PILASTERS AND ARABIAN BATHS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span>&nbsp; </p>
+
+<p>Alonso Manriquez, who had erected the incongruous edifice, in no
+measured terms. “You have built here,” said the king, “what you or
+anyone might have built elsewhere; but you have spoilt what was unique
+in the world.” Alas! the monarch had forgotten, or did not choose to
+remember, that the reprimand came with a very bad grace from one who,
+for his never-completed palace at Granada, had torn down whole courts
+and halls of the Alhambra.</p>
+
+<p>The mosque of Cordova is still to-day, by universal consent, the most
+beautiful Mussulman temple, and one of the most wonderful architectural
+monuments in the world. The susceptible Italian author, Edmondo de
+Amicis, has given us a vividly picturesque description of his first
+impression of the interior of the building. “Imagine a forest,” he says,
+“fancy yourself in the thickest portion of it, and that you can see
+nothing but the trunks of trees. So, in this mosque, on whatever side
+you look, the eye loses itself among the columns. It is a forest of
+marble, whose confines one cannot discover. You follow with your eye,
+one by one, the very long rows of columns that interlace at every step
+with numberless other rows, and you reach a semi-obscure background, in
+which other columns seem to be gleaming. There are nineteen aisles,
+which extend from north to south, traversed by thirty-three others,
+supported (among them all) by more than nine hundred columns of
+porphyry, jasper, breccia, and marbles of every colour. Each column
+upholds a small pilaster, and between them runs an arch, and a second
+one extends from pilaster to pilaster, the latter placed above the
+former, and both of them in the form of a horseshoe; so that in
+imagining the columns to be the trunks of so many trees, the arches
+represent the branches, and the similitude of the mosque to a forest is
+complete. The middle aisle, much broader than the others, ends in front<span class="pagenum"><a name="page_190" id="page_190">{190}</a></span>
+of the “maksurrah,” which is the most sacred part of the temple, where
+the Koran was worshipped. Here, from the windows in the ceiling, falls a
+pale ray of light that illuminates a row of columns; there is a dark
+spot; farther on falls a second ray, which lights another aisle. It is
+impossible to express the feeling of mysterious surprise which that
+spectacle arouses in your soul. It is like the sudden revelation of an
+unknown religion, nature, and life, which bears away your imagination to
+the delight of that paradise, full of love and voluptuousness, where the
+blessed, seated under the shade of leafy palm trees and thornless rose
+bushes, drink from crystal vases the wine, sparkling like pearls, mixed
+by immortal children, and take their repose in the arms of charming
+black-eyed virgins! All the pictures of eternal pleasure, which the
+Koran promises to the faithful, present themselves to your bright mind,
+gleaming and vivid, at the first sight of the mosque, and cause you a
+sweet momentary intoxication, which leaves in your heart an
+indescribable sort of melancholy! A brief tumult of the mind, and a
+spark of fire rushes through your brain&mdash;such is the first sensation one
+experiences upon entering the cathedral of Cordova.”</p>
+
+<p>Listen again to the musings of this same impressionable writer, as he
+gazes at the ceiling and walls of the principal chapel, the only part of
+the mosque that is quite intact. “It is,” he says, “a dazzling gleam of
+crystals of a thousand colours, a network of arabesques, which puzzles
+the mind, and a complication of bas-reliefs, gildings, ornaments,
+minutiæ of design and colouring, of a delicacy, grace and perfection
+sufficient to drive the most patient painter distracted. It is
+impossible to retain any of the pretentious work in the mind. You might
+turn a hundred times to look at it, and it would only seem to you, in
+thinking it over, a<span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<p class="ills"><a name="ill_081" id="ill_081"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_095_lg.jpg">
+<img src="images/ill_095_sml.jpg" width="487" height="321" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>INSCRIPTIONS AND ARABIAN CHAPTERS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_082" id="ill_082"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_096_lg.jpg">
+<img src="images/ill_096_sml.jpg" width="350" height="492" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;A CUFIC INSCRIPTION IN THE PLACE APPROPRIATED TO THE
+PERFORMANCE OF ABLUTIONS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_083" id="ill_083"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_097_lg.jpg">
+<img src="images/ill_097_sml.jpg" width="500" height="270" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>ARABIC INSCRIPTIONS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_084" id="ill_084"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_098_lg.jpg">
+<img src="images/ill_098_sml.jpg" width="477" height="271" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>A CUFIC INSCRIPTION ON THE ADDITIONS MADE TO THE MOSQUE, BY ORDER OF THE
+KHALIF AL-HAKAM.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span>&nbsp; </p>
+
+<p class="nind">mingling of blue, red, green, gilded, and luminous points, or a very
+intricate embroidery, changing continually, with the greatest rapidity,
+both design and colouring. Only from the fiery and indefatigable
+imagination of the Arabs could such a perfect miracle of art emanate.”</p>
+
+<p>But if the mere shell of this majestic edifice, this voiceless testimony
+to the glory of a world-power that has gone the way of all temporal
+empires is still eloquent in decay, and still a force to stir the
+imagination, what must it have been when the spirit of Moslemism filled
+its courts, and the temple resounded with praise and devotion? We can
+get some idea of the impressiveness of a Mohammedan service in the pages
+of Frederick Schack’s <i>Poetry and Art of the Arabs in Spain and Sicily</i>.
+The following vivid passage is a description of the mosque of Cordova on
+a solemn fête day: “On both sides of the pulpit wave two standards to
+signify that Islam has triumphed over Judaism and Christianity, and that
+the Koran has conquered the Old and New Testaments. The ‘Almnedian’
+climb upon the gallery of the high minaret and intone the ‘salam’ or
+salutation to the Prophet. Then the nave of the mosque fills with
+believers, who, clothed in white and wearing a festive aspect, gather
+for the oration. In a few moments, throughout the edifice nothing is to
+be seen but kneeling people. By the secret way which joins the temple to
+the alcazar, comes the khalif, who seats himself in his elevated place.
+A reader of the Koran reads a Sura on the reading-desk of the Tribune.
+The voice of the Muezzin sounds again, inviting people to the noon-day
+prayers. All the faithful rise and murmur their prayers, making
+obeisances. A servant of the mosque opens the doors of the pulpit and
+seizes a sword, with which, turning towards Mecca, he admonishes all to
+praise Mohammed, while the Prophet’s name is being cele<span class="pagenum"><a name="page_200" id="page_200">{200}</a></span>brated from the
+Tribune by the singing of the ‘mubaliges.’ After this the preacher
+ascends the pulpit, taking from the hand of the servant the sword, which
+recalls and symbolises the subjection of Spain to the power of Islam. It
+is the day on which ‘Djihad,’ or the holy war, is to be proclaimed, the
+call for all able-bodied men to descend into the battle-field against
+the Christians. The multitude listen with silent devotion to the
+discourse (woven from the head of the Koran) which begins like this:</p>
+
+<p>“<span class="lftspc">‘</span>Praised be God, who has increased the glory of Islam, thanks to the
+sword of the champion of the Faith, and who, in his Holy Book, has
+promised aid and victory to the believer.</p>
+
+<p>’<span class="lftspc">”</span>Allah scatters his benefits over the world.</p>
+
+<p>’<span class="lftspc">”</span>If he did not impel men to dash armed against each other, the earth
+would be lost.</p>
+
+<p>’<span class="lftspc">”</span>Allah has ordered that the people be fought against until they know
+there is but one God.</p>
+
+<p>’<span class="lftspc">”</span>The flame of war will not be extinguished until the end of the world.</p>
+
+<p>’<span class="lftspc">”</span>The Divine benediction will fall upon the mane of the war-horse until
+the Day of Judgment.</p>
+
+<p>’<span class="lftspc">”</span>Be you armed from head to foot, or only lightly armed, rise, and take
+your departure.</p>
+
+<p>’<span class="lftspc">”</span>O, believers! what will become of you if, when you are called to
+battle, you remain with your face turned toward the ground?</p>
+
+<p>’<span class="lftspc">”</span>Do you prefer the life of this world to that of the future?</p>
+
+<p>’<span class="lftspc">”</span>Believe me: the gates of paradise stand in the shadow of the sword.</p>
+
+<p>’<span class="lftspc">”</span>He who dies in battle for the cause of God, washes with the blood he
+sheds all the stains of his sins.<span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<p class="ills"><a name="ill_085" id="ill_085"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_099_lg.jpg">
+<img src="images/ill_099_sml.jpg" width="569" height="305" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE BRIDGE ACROSS THE GUADELQUIVIR, WITH A VIEW OF THE CATHEDRAL
+(MEZQUITA). THE SCENE AS IT APPEARED IN 1780.</p>
+
+<p>From <i>Antigüedades Arabes de España</i>. Madrid, 1780, fol.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_086" id="ill_086"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_100_lg.jpg">
+<img src="images/ill_100_sml.jpg" width="570" height="329" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>VIEW OF CORDOVA CATHEDRAL (MEZQUITA), AS IT APPEARED IN 1780.</p>
+
+<p>From <i>Antigüedades Arabes de España</i>. Madrid, 1780. fol.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_087" id="ill_087"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_101_lg.jpg">
+<img src="images/ill_101_sml.jpg" width="427" height="551" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>WALL OF THE MOSQUE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_088" id="ill_088"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_102_lg.jpg">
+<img src="images/ill_102_sml.jpg" width="373" height="574" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>FAÇADE OF THE MIHRAB.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span>&nbsp; </p>
+
+<p>’<span class="lftspc">”</span>His body will not be washed like the other bodies, because in the Day
+of Judgment his wounds will send out a fragrance like musk.</p>
+
+<p>’<span class="lftspc">”</span>When the warriors shall present themselves at the Gates of Paradise, a
+voice from within will ask: “What have you done during your life?”</p>
+
+<p>’<span class="lftspc">”</span>And they will reply: “We have brandished the sword in the struggle for
+the cause of God.”</p>
+
+<p>’<span class="lftspc">”</span>Then the eternal Gates will open, and the warriors will enter forty
+years before the others.</p>
+
+<p>’<span class="lftspc">”</span>Up, then, O believers! Abandon women, children, brothers, and worldly
+possessions, and go forth to the holy war!</p>
+
+<p>’<span class="lftspc">”</span>And thou, O God, Lord of the present and future world, fight for the
+armies of those who recognise thy Unity! Destroy the incredulous,
+idolaters, and enemies of thy holy faith! Overthrow their standards, and
+give them, with all they possess, as booty to the Mussulmans!’<span class="lftspc">”</span></p>
+
+<p>The preacher, when he has finished his discourse, exclaims, turning
+towards the congregation: “Ask of God!” and prays in silence. All the
+faithful, touching the ground with their foreheads, follow his example.
+The “mubaliges” sing: “Amen! Amen, O Lord of all beings!” Like the
+intense heat which precedes the tempest, the enthusiasm of the multitude
+(restrained, up to this time, in a marvellous silence) breaks out in
+loud murmurs, which, rising like the waves of the sea, and inundating
+the temple, finally make the echo of a thousand united voices resound
+through the naves, chapels, and vaults in one single shout: “There is no
+God but Allah!”</p>
+
+<p>Abd-er-Rahman I. was old when he commenced the building of the Mosque,
+and experienced in every description of architecture. His passion for
+building was as eager as<span class="pagenum"><a name="page_210" id="page_210">{210}</a></span> that of his predecessors of the house of
+Omeyyad, who had made Damascus the envy of the world; and, during the
+frequent periods of peace, he had turned all his thoughts to the
+adornment of his capital by works which he had himself superintended.
+One of his first undertakings was to supply Cordova with water by means
+of an aqueduct, which came from the distant hills, and the vestiges of
+which are visible to this day. The water thus brought from the mountains
+was conveyed to the palace, and thence carried to every quarter of the
+city by means of conduits, from which it flowed into basins, as well as
+into lakes, enormous tanks, reservoirs and fountains. The sultan then
+planted a most delightful garden, to which he gave the name of
+Munyat-Arrissafah, in remembrance of a country seat near Damascus, which
+his grandfather, the Khalif Hisham, had built, and where he himself had
+spent the earliest years of his life. Finding the spot a very charming
+one, he erected in the middle of it a magnificent palace; and, moreover,
+made it his residence in preference to the old palace, inhabited by the
+former governors of Andalus. Having an ardent love of horticulture, he
+commissioned a botanist to procure for him in the East fruits and plants
+that could be easily naturalised in Andalus; and, in this manner, it is
+said, Abd-er-Rahman introduced the peach, and the particular kind of
+pomegranate, called “Safari,” into Spain. It is believed that this best
+species of pomegranate obtained its name from having been sent to
+Abd-er-Rahman by his sister, then residing in the East, and was called
+“Safari,” or “the Traveller,” from this circumstance. Other derivations
+of the name are given, all plausible enough. One thing is certain, the
+fruit is called to this day in Spain, “Granada Zafari,” and is
+considered the best of its kind in point of flavour, smallness of seed,
+and abundance of juice.<span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<p class="ills"><a name="ill_089" id="ill_089"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_103_lg.jpg">
+<img src="images/ill_103_sml.jpg" width="416" height="566" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;ARCH OF ONE OF THE GATES.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_090" id="ill_090"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_104_lg.jpg">
+<img src="images/ill_104_sml.jpg" width="415" height="513" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;LATTICE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span>&nbsp; </p>
+
+<p>Abd-er-Rahman II. carried on the work of beautifying Cordova with
+gardens, palaces, and bridges, but it was the third sovereign of his
+name, the Great Khalif, Abd-er-Rahman III., who restored the Moslem
+supremacy in Spain, and won for himself the title of En-Nasir
+li-dini-llah (“The Defender of the Faith of God”), who placed the crown
+on Cordova’s beauty and splendour. Byzantium, perhaps, compared with it
+in the loveliness of her buildings, and the luxury and refinement of her
+life, but no other city of Europe could approach the “Bride of
+Andalusia.” “To her,” sang the old Arab writer, “belong all the beauty
+and the ornament that delight the eye and dazzle the sight. Her long
+line of Sultans form her crown of glory; her necklace is strung with the
+pearls which her poets have gathered from the ocean of language; her
+dress is of the canvas of learning well knit together by her men of
+science; and the masters of every art and industry are the hem of her
+garments.”</p>
+
+<p>“The inhabitants of Cordova,” says Ahmed-El-Makkari, the great Arab
+historian, “are famous for their courteous and polished manners, their
+superior intelligence, their exquisite taste and magnificence in their
+meals, dress, and horses. There thou wouldst see doctors, shining with
+all sorts of learning; lords, distinguished by their virtue and
+generosity; warriors, renowned for their expeditions into the country of
+the infidels; and officers, experienced in all kinds of warfare. To
+Cordova came from all parts of the world students eager to cultivate
+poetry, to study the sciences, or to be instructed in divinity or law;
+so that it became the meeting-place of the eminent in all matters, the
+abode of the learned, and the place of resort for the studious; its
+interior was always filled with the eminent and the noble of all
+countries, its literary men and soldiers were continually<span class="pagenum"><a name="page_216" id="page_216">{216}</a></span> vying with
+each other to gain renown, and its precincts never ceased to be the
+arena of the distinguished, the retreat of scholars, the halting place
+of the noble, and the repository of the true and virtuous. Cordova was
+to Andalus what the head is to the body, or what the breast is to the
+lion.”</p>
+
+<p>To-day there is nothing left in Cordova but the mosque, the bridge, and
+the ruins of the alcazar to mark the spot where, in the time of
+Abd-er-Rahman III., a city, ten miles in length, lined the banks of the
+Guadelquivir with mosques and gardens and marble palaces. The royal
+palaces of the Great Khalif included the Palace of Lovers, the Palace of
+Flowers, the Palace of Contentment, the Palace of the Diadem, and the
+palace which the Sultan named Damascus, of which the Moorish poet sang,
+“All palaces in the world are nothing compared to Damascus, for not only
+has it gardens with the most delicious fruits and sweet-smelling
+flowers, beautiful prospects, and limpid running waters, clouds pregnant
+with aromatic dew, and lofty buildings; but its night is always
+perfumed, for morning pours on it her gray amber, and night her black
+musk.” The city contained over fifty thousand palaces of the nobles, and
+twice that number of houses of the common people, while seven hundred
+mosques and nine hundred public baths had close companionship among a
+community who made cleanliness co-ordinate with godliness.</p>
+
+<p>But perhaps the greatest monument of Moorish architecture that was ever
+created in Spain, the most wonderful city and palace that has ever been
+constructed, is to-day a name and a memory of which not a trace is in
+existence. That marvellous suburb of Cordova, called Ez-Zahra, “the
+Fairest,” which was built at the suggestion of the favourite mistress of
+Abd-er-Rahman III., and was<span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<p class="ills"><a name="ill_091" id="ill_091"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_105_lg.jpg">
+<img src="images/ill_105_sml.jpg" width="532" height="421" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;ORNAMENTAL ARCHED WINDOW.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_092" id="ill_092"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_106_lg.jpg">
+<img src="images/ill_106_sml.jpg" width="405" height="576" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>THE MOSQUE&mdash;CAPITALS OF THE ENTRANCE ARCH.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_093" id="ill_093"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_107a_lg.jpg">
+<img src="images/ill_107a_sml.jpg" width="420" height="245" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<p>DETAILS OF THE FRIEZE.</p></div>
+</div>
+
+<p class="ills"><a name="ill_094" id="ill_094"></a></p>
+
+<p class="ills"><a name="ill_095" id="ill_095"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_107b_lg.jpg">
+<img src="images/ill_107b_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>PLAN.</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>KEYSTONE OF ORNAMENTAL ARCH.</p>
+</td></tr>
+</table>
+
+</div></div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_096" id="ill_096"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_108a_lg.jpg">
+<img src="images/ill_108a_sml.jpg" width="422" height="241" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CORDOVA</p>
+
+<p>DETAIL OF THE CORNICE.</p></div>
+</div>
+
+<div class="figcenter">
+<a href="images/ill_108b_lg.jpg">
+<img src="images/ill_108b_sml.jpg" width="425" height="154" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>DETAIL OF THE CORNICE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span>&nbsp; </p>
+
+<p class="nind">forty years in the making, has been entirely obliterated. At the foot of
+the “Hill of the Bridge,” at a distance of three miles from Cordova, the
+foundation of the city was laid in <small>A.D.</small> 936. A third of the royal income
+was expended every year in the prosecution of the work. Ten thousand
+labourers and three thousand beasts of burden were employed continually,
+and six thousand blocks of stone were cut and polished each day for
+building purposes. Many of its four thousand columns came from Rome,
+Constantinople, and Carthage; its fifteen thousand doors were coated
+with iron and polished brass; the walls and roof in the Hall of the
+Khalif were constructed of marble and gold. A marble statue of Ez-Zahra,
+“the Fairest,” was erected over the principal gateway.</p>
+
+<p>Arabian chroniclers have exhausted their eloquence in attempting to do
+justice to the wonders of Medinat-Ez-Zahra, and the result is so
+monotonous a surfeit of superlatives that even the beauty that inspired
+them can scarcely reconcile us to the repetition. But the historians
+occasionally drop into prose in recounting the marvels of the palace,
+and then we learn that “the number of male servants employed by the
+khalif has been estimated at thirteen thousand seven hundred and fifty,
+to whom the daily allowance of flesh meat, exclusive of fowls and fish,
+was thirteen thousand pounds; the number of women of various kinds and
+classes, comprising the harem of the sultan or waiting upon them, is
+said to have amounted to six thousand three hundred and fourteen. The
+Slav pages and eunuchs were three thousand three hundred and fifty, to
+whom thirteen thousand pounds of flesh meat were distributed daily, some
+receiving ten pounds each, and some less, according to their rank and
+station, exclusive of fowls, partridges, and birds of other sorts, game,
+and fish. The daily allowance of bread for<span class="pagenum"><a name="page_226" id="page_226">{226}</a></span> the fish in the pond of
+Ez-Zahra was twelve thousand loaves, besides six measures of black
+pulse, which were every day macerated in the waters.” It is small wonder
+that travellers from distant lands, men of all ranks and professions in
+life, following various religions&mdash;princes, ambassadors, merchants,
+pilgrims, theologians, and poets&mdash;all agreed that they had never seen in
+the course of their travels anything that could be compared to it.</p>
+
+<p>“Indeed,” writes one Moorish chronicler, “had this palace possessed
+nothing more than the terrace of polished marble overhanging the
+matchless gardens, with the golden hall and the circular pavilion, and
+the works of art of every sort and description&mdash;had it nothing else to
+boast of but the masterly workmanship of the structure, the boldness of
+the design, the beauty of the proportions, the elegance of the
+ornaments, hangings, and decorations, whether of shining marble or
+glittering gold, the columns that seemed from their symmetry and
+smoothness as if they had been turned by lathes, the paintings that
+resembled the choicest landscapes, the artificial lake so solidly
+constructed, the cistern perpetually filled with clear and limpid water,
+and the amazing fountains, with figures of living beings&mdash;no
+imagination, however fertile, could have formed an idea of it.” So at
+least it struck the Moorish author, and the sight inspired him to
+ejaculate: “Praise be to God Most High for allowing His humble creatures
+to design and build such enchanting palaces as this, and who permitted
+them to inhabit them as a sort of recompense in this world; and in order
+that the faithful might be encouraged to follow the path of virtue, by
+the reflection that, delightful as were these pleasures, they were still
+far below those reserved for the true believer in the celestial
+Paradise!”</p>
+
+<p>The effect of all this massed splendour upon the mind,<span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<p class="ills"><a name="ill_097" id="ill_097"></a></p>
+
+<p class="ills"><a name="ill_098" id="ill_098"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>CORDOVA</p></div>
+<a href="images/ill_109a_lg.jpg">
+<img src="images/ill_109a_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>CAPITAL OF ARCH.</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>SIDE VIEW OF THE CORNICE.</p>
+</td></tr>
+</table>
+
+</div></div>
+
+<p class="ills"><a name="ill_099" id="ill_099"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_109b_lg.jpg">
+<img src="images/ill_109b_sml.jpg" width="378" height="166" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>BASES.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_100" id="ill_100"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_110_lg.jpg">
+<img src="images/ill_110_sml.jpg" width="581" height="436" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>EAST FAÇADE, WITHOUT THE PORTICO.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span>&nbsp; </p>
+
+<p class="nind">even of those whose position and duties made familiar with the treasures
+of Abd-er-Rahman’s palaces, is illustrated by one of the ambassadors of
+the Greek Emperor. The khalif received Constantine’s emissaries in the
+great hall of the palace of Ez-Zahra, which was specially arranged for
+the occasion. The richest carpets and rugs, and the most gorgeous silk
+awnings, covered the floor, and veiled the doors and arches, and in the
+midst of the apartment was set up the royal throne, overlaid with gold,
+and glittering with precious stones. On the right and left of the throne
+stood the khalif’s sons, beside them were the viziers, and behind them,
+in the order of their rank, were ranged the chamberlains, the nobles,
+and officers of the household. The ambassadors were awed and amazed by
+the magnificence of the scene, and the orator, charged with the office
+of delivering the speech of welcome, was literally struck dumb by the
+splendour of the spectacle. With wide, staring eyes and speechless lips
+he stood spellbound, caught in a maze of wonder. This man, who had grown
+accustomed to superb beauty, who had seen splendour piled upon splendour
+under the directing hand of his master, was paralysed by the effect it
+produced. His brain reeled, and, without uttering a word, he fell
+senseless to the ground. A second orator took the embossed scroll, and
+faced the august assemblage, but the witchery of the scene hypnotised
+his senses, and he, too, hesitated, faltered, and broke down.</p>
+
+<p>The mere outward and visible aspect of this “brightest splendour of the
+world,” as the nun Hroswitha described it, fired the imagination of man,
+and deprived the practised orators of speech. But the mind of Cordova at
+this period of its history was as beautiful as its frame. It was the
+fountain-head of learning, the well-spring of art, the scientific centre
+of Europe. Literature became the study of every<span class="pagenum"><a name="page_232" id="page_232">{232}</a></span> class, poetry was the
+common language of the people. The potters, the silk weavers, the glass
+blowers, the jewellers, swordmakers, and brass workers of Cordova were
+renowned throughout Europe&mdash;in all that appertained to art she was
+acknowledged to stand pre-eminent. The greatest doctors, the most
+skilled surgeons, had their homes in Cordova; and astronomers,
+geographers, chemists, philosophers, and scientists of every kind
+resorted thither to study and prosecute their researches.</p>
+
+<p>Under Hakam II., the Royal library at Cordova became the largest and
+most celebrated collection of books in the world; and under Almanzor,
+the powerful minister who ruled Spain for the Khalif Hisham, the beauty
+of the Imperial city was jealously maintained. But the end of the
+Omeyyad dynasty was even then in sight, the sun of Cordova’s glory was
+already commencing to set. After the death of Almanzor</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Sultan after Sultan with his pomp<br /></span>
+<span class="i1">Abode his destin’d hour and went his way,”<br /></span>
+</div></div>
+</div>
+
+<p class="nind">the puppet khalifs were enthroned and deposed at the will of successive
+prevailing factions. Anarchy had broken out again, the mob was Sultan,
+and the work of pillage and plunder was begun. The overthrow of the
+Almanzor order was followed by the wrecking of the Almanzor palace,
+which was ransacked and burned to the ground. For four days the work of
+riot, robbery, and massacre went on unchecked. Palace after palace was
+reduced to ruins, gardens were devastated, the public squares ran with
+blood. The brutal, savage Berbers captured the beautiful city of
+Ez-Zahra (<small>A.D.</small> 1010) by treachery, and put its garrisons to the sword,
+while the flying inhabitants were chased into the sacred precincts of
+the mosque and butchered without mercy.<span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<p>Ez-Zahra, “the city of the fairest,” was pillaged; its palaces and
+mosques were thrown down, and the walls were given to the flames. To-day
+its site alone remains, and its glories exist only in name.<span class="pagenum"><a name="page_235" id="page_235">{235}</a></span><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span>&nbsp; </p>
+
+<h2><a name="SEVILLE" id="SEVILLE"></a>SEVILLE</h2>
+
+<p class="nind"><span class="letra">T</span>HE beginning of the history of Seville is buried, with the date of its
+foundation, in oblivion. It has its place in mythology as the creation
+of Hercules; its origin being more reasonably credited to the
+Phœnicians, who colonised the mineral-yielding region of Andalusia,
+which is watered by the Guadalquivir, and called it Tartessii. Strabo
+states that they built the town of Tartessus; and some authorities
+favour the conclusion that Seville stands on the site of that Phœnician
+stronghold. In 237 <small>B.C.</small> Hamilcar Barca conquered Andalusia, and his
+son-in-law founded Carthagena, which was seized by Publius Cornelius
+Scipio, or Scipio Africanus, during the second Punic War. Scipio founded
+Italica, which was to serve as a sanatorium for his invalided soldiers,
+and for awhile its importance eclipsed that of the neighbouring city of
+Seville. Honoured by the gifts of three Roman emperors born within its
+walls, and adorned with the splendid edifices raised by Trajan, Adrian,
+and Theodosius, Italica was advanced to the first rank among the Roman
+cities of the Peninsula. Julius Cæsar restored the balance of power to
+Seville in 45 <small>B.C.</small>, when he made it his capital, and changed its name to
+Julia Romula. The city was fortified and protected by walls, which have
+been variously described as from five to ten miles in length. To-day the
+remains of the great aqueduct, the two high granite columns in the
+Alameda de Hercules, and the beautiful fragments of capitals and statues
+in the Museo Arqælogico, are the only existing relics of the Roman sway
+in Seville, while on the opposite<span class="pagenum"><a name="page_238" id="page_238">{238}</a></span> bank of the Guadalquivir a ruined,
+grass-grown amphitheatre is all that is left of the once mighty town of
+Italica. In 584 Leovigild repaired the walls of Italica when he was
+beseiging Seville, and less than two centuries later those walls were
+greatly injured by the Moors, who further fortified and enlarged Seville
+with the stones brought from Italica.</p>
+
+<p>In 711 Tarik captured Cordova, and in the following year Musa, the
+Governor of Africa, appeared before Seville with an army of 18,000
+warriors. In a few weeks the city had fallen, and for 536 years the
+“Pearl of Andalusia” remained in the possession of the Moors. The
+conquerors abandoned Italica to its fate, or, rather, they used the
+remains of the city as a quarry, while some of the sculpture of the
+deserted capital, which appealed to the Arabs by its surpassing beauty,
+was removed to Seville. Despite the injunctions contained in the Koran,
+the sculptures were not destroyed, and a statue of Venus was long
+preserved in one of the public baths of the city. El-Makkari, writing in
+the sixteenth century, and quoting from an early Moorish manuscript,
+records that “there was once found a marble statue of a woman with a
+boy, so admirably executed that both looked as if they were alive; such
+perfection human eyes never beheld. Indeed, some Sevillians were so much
+struck with its beauty as to become deeply enamoured of it.” An
+anonymous poet, a native of Seville, made a set of verses about it,
+which have been translated by Don Pascual de Gayangos as follows:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Look at that marble statue, beautiful in its proportions,<br /></span>
+<span class="i1">surpassing everything in transparency and smoothness.<br /></span>
+</div><div class="stanza">
+<span class="i0">“She has with her a son, it is true, but who her husband<br /></span>
+<span class="i1">was I cannot tell, neither was she ever in labour.<br /></span>
+</div><div class="stanza">
+<span class="i0">“Thou knowest her to be but a stone, but yet thou canst<br /></span>
+<span class="i1">not look at her, for there is in her eyes something that<br /></span>
+<span class="i1">fascinates and confounds the beholder.”<br /></span>
+<span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></div></div>
+</div>
+
+<p>It has been said that the Sevillians pretend to regard Hercules as the
+builder of the city, and the <i>Puerta de la Carne</i> is inscribed with the
+following distich:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“<i>Condidit Alcides&mdash;renovavit Julius urbem,</i><br /></span>
+<span class="i1"><i>Restituit Christo Fernandus tertius heros.</i>”<br /></span>
+</div></div>
+</div>
+
+<p>This has been paraphrased in an inscription over the Puerta de Xerex:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Hercules me edificó<br /></span>
+<span class="i1">Julio Cesar me cercó<br /></span>
+<span class="i1">De muros y torres altas;<br /></span>
+<span class="i1">Un Rey godo me perdió,<br /></span>
+<span class="i1">El Rey Santo me ganó,<br /></span>
+<span class="i1">Con Garci Perez de Vargas.”<br /></span>
+</div></div>
+</div>
+
+<p class="nind">Hercules built me; Julius Cæsar encircled me with walls and lofty
+towers; a Gothic king (Roderick) lost me; a saint-like king (St.
+Ferdinand), assisted by Garci Perez de Vargas, regained me.</p>
+
+<p>The inscription might well have included the name of the brother of
+Garci Perez, Diego de Vargas, surnamed “El Machuca,” or “the Pounder,”
+who performed prodigies of valour at the breaking of the Moorish bridge
+of boats across the Guadalquivir, when the destruction of that
+gallantly-defended means of access to the city led to the capture of
+Seville by the Christians in 1248. These two brothers are the heroes of
+Spanish ballads, and were greatly distinguished by St. Ferdinand; the
+grateful monarch freely acknowledging their prowess by the bestowal of
+houses and lands wrested from the Moors. A curious “Repartimiento,” or
+Domesday Book of Seville, is still extant, and many families can trace
+their actual possessions back to this original partition.</p>
+
+<p>Musa appointed his son, Abdelasis, a brave soldier and a humane ruler,
+to be governor of Seville. That he was a successful general, that he
+married Egilona, the widow of<span class="pagenum"><a name="page_240" id="page_240">{240}</a></span> the unfortunate King Roderick, and was
+murdered by the order of Suleyman, brother and heir of the Khalif of
+Damascus, is all that history records of him. A malignant rumour, that
+he was scheming to make himself sole ruler of the Berber dominion in
+Spain, reached Damascus. Suleyman immediately sent emissaries to Seville
+with secret instructions that Abdelasis should be put to death, adding
+as an incentive to swift compliance with his order, that whoever among
+them executed the deed, should be appointed his successor as Amir of
+Seville. The delegates were armed with friendly letters to Abdelasis,
+who received them cordially, and entertained them in accordance with his
+exalted position as an amir under the khalif. It appears, according to
+the tradition, that the scheme was revealed to ’Abdullah Ibn, “who was
+the most eminent and most conspicuous officer in the army.” ’Abdullah,
+however, would have no hand in the projected assassination, but, on the
+contrary, endeavoured to dissuade the conspirators from their purpose,
+saying to them: “You know the hand of Musa has conferred benefits on
+every one of you: if the Commander of the Faithful has been informed as
+you represent, he has been told a lie. Abdelasis has never raised his
+hand in disobedience to his master, nor dreamt of revolting against
+him.” Suleyman’s emissaries, however, disregarded his words, and decided
+on the murder. One morn they stood among the rest at the gates of the
+palace, waiting till the governor should go to the mosque, and, when he
+appeared, followed him to prayer. Scarcely had he entered the “kiblah,”
+and begun to read the Koran, than one of the conspirators rushed upon
+the governor and stabbed him. Abdelasis, leaving the “kiblah,” took
+refuge in the body of the mosque, whither he was followed and slain.
+When the news spread through the city, the inhabitants</p>
+
+<p><a name="plt_XXV" id="plt_XXV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXV<br />SEVILLE</p></div>
+<a href="images/ill_111_lg.jpg">
+<img src="images/ill_111_sml.jpg" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td colspan="3"><p class="c">Frieze in the Hall of Ambassadors.</p></td>
+</tr><tr valign="top"><td><p class="c">Mosaic of the large Court, Alcazar.</p></td>
+<td><p class="c">Stucco work,<br /> Hall of Ambassadors.</p></td>
+<td><p class="c">Mosaic of the large Court.</p></td>
+</tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<p class="ills"><a name="ill_101" id="ill_101"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_112_lg.jpg">
+<img src="images/ill_112_sml.jpg" width="476" height="364" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>FAÇADE OF THE ALCAZAR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_102" id="ill_102"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_113_lg.jpg">
+<img src="images/ill_113_sml.jpg" width="475" height="376" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;GATES OF THE PRINCIPAL ENTRANCE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span>&nbsp; </p>
+
+<p class="nind">were roused to fury. The assassins produced the letters and commands of
+the khalif, but to no purpose; the people refused to abide by the
+sultan’s behests, and chose ’Abdullah to be his successor. ’Abdullah
+was, however, quickly displaced by Ayub, Suleyman’s nominee, and the
+conspirators then departed to make their report at Damascus, carrying
+with them the head of the unfortunate Abdelasis.</p>
+
+<p>The author of the tradition, Mohammed Ibn, says that when these
+emissaries arrived at Damascus and produced the head of Abdelasis before
+Suleyman, he sent immediately for Musa. Upon his appearance, Suleyman,
+pointing to the head, said: “Dost thou know whose head that is?” “Yes,”
+answered Musa, “it is the head of my son Commander of the Faithful, the
+head of Abdelasis (may Allah show him mercy) is before thee, but by the
+life of Allah there was never a Moslem who less deserved such unjust
+treatment; for he passed his days in fasting, and his nights in prayer;
+no man ever performed greater deeds to serve the cause of the Almighty,
+or His messenger Mohammed; no man was more firm in his obedience to
+thee. None of thy predecessors would have served him thus. Thou even
+wouldest never have done what thou hast to him, had there been justice
+in thee.” Suleyman retorted, “Thou liest, O Musa, thy son was not as
+thou hast represented him; he was impious and forgetful of our religion,
+he was the persecutor of the Moslems, and the sworn enemy of his
+sovereign, the Commander of the Faithful. Such was thy son, O doting,
+foolish, fond old man!” Musa replied, “By Allah! I am no dotard, nor
+would I deviate from truth, wert thou to answer my words with the blows
+of death. I speak as the honest slave should speak to his master, but I
+place my confidence in God, whose help I implore. Grant me his<span class="pagenum"><a name="page_246" id="page_246">{246}</a></span> head, O
+Commander of the Faithful, that I may close his eyes.” And Suleyman
+said: “Thou mayest take it.” As Musa was leaving the Hall of Audience
+one who was present wished to interfere with him, but Suleyman said:
+“Let Musa alone, he has been sorely punished;” and added: “The old man’s
+spirit is still unbroken.” But the old man, whose name had once stood
+for the symbol of conquest, whose initiative had won Spain for the Moor,
+had received his death sentence. Grief, which could not bend his spirit,
+seized upon his frame. The old man fell sick of grief and shame, and in
+a little while he was dead.</p>
+
+<p>Suleyman’s treachery had its first result in the removal of the seat of
+Moorish rule in Spain to Cordova. Ayub, the successor of Abdelasis,
+recognising the insecurity of his tenure in Seville, forsook “the Pearl
+of Andalusia” with all speed, and when in 777, Abd-er-Rahman proclaimed
+himself sole ruler of Spain, it was from his palace at Cordova that the
+fiat was sent forth to the world. Seville, the first and the natural
+capital of the South, dropped into second place among the cities of the
+Peninsula, and it was not until 1078 that it re-established its claim as
+the Moorish metropolis. For three hundred and fifty years the Moslems
+were faithful to the sovereignty of Cordova; and although Seville came,
+by reason of its beautiful palaces, gardens, and baths, to be regarded
+as one of the fairest cities of earth; the alcazar and the lordly
+mosque, which now bear evidence of its former grandeur, are of a later
+Moorish period. And Seville grew in beauty under, and in spite of, the
+destructive influence of strife and conflict. While Abd-er-Rahman was
+cultivating the graces of Cordova, Seville was being desolated by many
+assaults. Yusuf, and, after his death, his three sons, made attacks upon
+Seville, and Hixem ben Adri el Fehri, who had stirred the Toledans to
+insurrection, was</p>
+
+<p><a name="plt_XXVI" id="plt_XXVI"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_114_lg.jpg">
+<img src="images/ill_114_sml.jpg" width="576" height="416" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>PLATE XXVI
+
+SEVILLE.</p>
+
+<p>ALCAZAR.</p>
+
+<p>Hall of Ambassadors. Details.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<p class="ills"><a name="ill_103" id="ill_103"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_115_lg.jpg">
+<img src="images/ill_115_sml.jpg" width="476" height="364" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>FAÇADE OF THE ALCAZAR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_104" id="ill_104"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_116_lg.jpg">
+<img src="images/ill_116_sml.jpg" width="344" height="480" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>CHIEF ENTRANCE TO THE ALCAZAR, MOORISH STYLE, BUILT UNDER DON PEDRO I.
+THE CRUEL, 1369-1379.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span>&nbsp; </p>
+
+<p class="nind">subsequently defeated at the gates of Seville by the Governor,
+Abdelmelic. At a later date, Cassim, the son of Abdelmelic, fled with
+his army before the advance of the Wali of Mequinez, and was stabbed to
+death by his father for cowardice. Abdelmelic, who threw himself upon
+the invaders, was overcome and wounded in a night battle on the banks of
+the Guadalquivir; but, despite his hurt and his defeat, he rallied his
+soldiers, and drove the hitherto victorious Wali through the streets of
+Seville, and out again into the open country, where he was captured and
+killed.</p>
+
+<p>Under the shifty and opportunist rule of Abdallah, who had caused his
+brother Mundhir to be murdered to make his way to the throne of Cordova
+in 888, Andalusia was split up into a number of independent
+principalities. The turbulent Ibn-Hafsun had made himself virtual King
+of Granada, the governors of Lorca and Zaragoza rendered but nominal
+homage to the khalif, the walls of Toledo rattled with the crash of
+contending revolutionary factions, and in Seville Ibrahim Ibn-Hajjaj
+treated with the King of Cordova on equal terms. In the time of
+Ibn-Hajjaj Seville was the most orderly and best-governed city in the
+Peninsula. The poets of Cordova, the singers of Baghdad, and the lawyers
+of Medina were attracted to the court of Ibn-Hajjaj, of whom it was
+sung, “In all the West I find no right noble man save Ibrahim, but he is
+nobility itself. When one has known the delight of living with him, to
+dwell in any other land would be a misery.” Yet in 912-13, Ibrahim
+Ibn-Hajjaj, who kept his state like an Emperor, opened the gates of
+Seville to the masterful and gallant Abd-er-Rahman III., and the city
+became once more subject to the self-proclaimed Khalif of Cordova. It
+was Abd-er-Rahman who planted Seville with palm trees, beautified her
+gardens, increased the number of her palaces, and made the Guadal<span class="pagenum"><a name="page_252" id="page_252">{252}</a></span>quivir
+navigable by narrowing the river’s channel. Ibrahim “the Magnificent”
+received the Great Khalif with the homage which a feudal lord offers to
+his king, and the independence of Seville was at an end.</p>
+
+<p>But Seville at this period was the rival of Cordova in intellectual
+eminence, and much of the Moorish thought and research which was
+destined to influence Spain in future ages was pondered, and practised,
+and published from the former city. Abu Omar Ahmed Ben Abdallah, called
+“El Begi,” “the Sage,” and unquestionably one of the most learned men of
+his time, was a native of Seville, and here he wrote his encyclopædia of
+the sciences. It was said that there was no man who could surpass him in
+knowledge of arts and sciences, and “even in his earliest youth,” says
+Condé, “the cadi very frequently consulted him in affairs of the highest
+importance.” Chemists, philosophers, astronomers, and men famous in
+every branch of science, resorted to “the Pearl of Andalusia;” while art
+was fostered in silk and leather manufactures, and the joy of life found
+expression in music, poetry, and the dance.</p>
+
+<p>The victorious expeditions of Alfonso VI. found the Moors demoralised
+from the massacres of Cordova and Ez-Zahra, and the whole of Andalusia
+in a state of ferment, anarchy, and military unpreparedness. In every
+town of importance in the South a new independent dynasty sprang into
+existence, and the Abbadites exercised kingly sway over the so-called
+republic of Seville. Some of these usurpers and pretenders, as Mr.
+Lane-Poole has pointed out, were good rulers; most of them were
+sanguinary tyrants, but (curiously) not the less polished gentlemen, who
+delighted to do honour to learning and letters, and made their courts
+the homes of poets and musicians. Mo’temid of Seville, for instance, was
+a patron of the arts, and a prince of many</p>
+
+<p><a name="plt_XXVII" id="plt_XXVII"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_117_lg.jpg">
+<img src="images/ill_117_sml.jpg" width="575" height="407" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>PLATE XXVII.
+
+SEVILLE.</p>
+
+<p>Details in Hall of Ambassadors.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<p class="ills"><a name="ill_105" id="ill_105"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_118_lg.jpg">
+<img src="images/ill_118_sml.jpg" width="473" height="353" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;PRINCIPAL FAÇADE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_106" id="ill_106"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_119_lg.jpg">
+<img src="images/ill_119_sml.jpg" width="475" height="355" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>INTERIOR COURT OF THE ALCAZAR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span>&nbsp; </p>
+
+<p class="nind">attainments, yet he kept a garden of heads cut off his enemies’
+shoulders, which he regarded with great pride and delight. Yet Seville
+was secure and peaceful under these barbarous rulers until the menace of
+Alfonso’s inroads made Mo’temid silence the fears of his court with the
+reflection, “Better be a camel-driver in African deserts than a
+swine-herd in Castile.” So they fled from the danger of the Castilians
+to the succour that Africa was waiting to send them. A conference of
+Moorish rulers was held in Seville, and a message imploring assistance
+was despatched to Yusuf, the Almoravide king. Yusuf defeated the army of
+Alfonso near Badajoz in 1086. Four years later the King of Seville again
+besought the help of Yusuf against the Christians of the North. This
+time he came with a force of twenty thousand men at his back, and before
+the end of 1091 the leader of the Almoravides had captured Seville and
+established a dynasty which was to last until its overthrow by the
+Almohades in 1147.</p>
+
+<p>The Almoravide rule, which was distinguished in the beginning by piety
+and a love of honest warfare, ended in tyranny and corruption, and the
+Almoravides gave place to a race more pious and fanatical than the
+demoralised followers of Yusuf had ever been. For a hundred and one
+years the Almohades remained masters of Seville. The monuments of their
+devotion and artistic genius are extant in the mosque and the alcazar,
+and we know that under Abu Yakub Yusuf a new era of commercial
+prosperity set in for Seville, and a new light arose to illumine the
+fast deepening shadows which fell over the vanishing glory of Cordova.
+The thunder of the blows which had reduced “the City of the Fairest” to
+a heap of ruins still echoed in the air, and mixed with the noise of the
+builders and artificers who were re-moulding Seville “nearer to the
+heart’s desire.<span class="pagenum"><a name="page_258" id="page_258">{258}</a></span>”</p>
+
+<p>The remains of Moorish architecture which we find in Cordova, in
+Seville, and in Granada, enable us to realise that the civilisation and
+art of the Spanish Moslems were progressive, and that each stage
+developed its varied and singular characteristics. “The monuments of
+Seville,” says Contreras in his <i>Monuments Arabes</i>, “produce quite a
+peculiar effect on the mind, a sublime reminiscence of ancient and
+profound social transformations, which only the inartistic aspect of bad
+restorations can dissipate&mdash;a vandalism inspired by the desire to see
+the building shining with colour and gold, and which impelled people to
+restore it without paying the smallest heed to the most elementary
+principles of archæology. The alcazar of Seville is not a classic work;
+we do not find in it the stamp of originality, and the ineffaceable
+character that one admires in ancient works like the Parthenon, and in
+more modern ones like the Escurial; the first on account of their
+splendid simplicity, and the latter for their great size and taciturn
+grandeur. In the alcazar of Yakub Yusuf, the prestige of a heroic
+generation has disappeared, and the existence of Christian kings, who
+have lived there and enriched it with a thousand pages of our glorious
+history, is perfectly represented there. The Almohades who left the
+purest African souvenirs there, and Jalubi who followed Almehdi to the
+conquest of Africa, left on the walls Roman remains, taken from the
+vanquished people. St. Ferdinand, who conquered it; Don Pedro I., who
+re-built it; Don Juan II., who restored the most beautiful halls; the
+Catholic monarchs, who built chapels and oratories within its precincts;
+Charles V., who added more than half, with the moderated style of this
+epoch of sublime renaissance; Philip III., and Philip V., who further
+increased it by erecting edifices in the surrounding gardens; all these,
+and many other princes and great lords, who inhabited it<span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p>
+
+<p class="ills"><a name="ill_107" id="ill_107"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_120_lg.jpg">
+<img src="images/ill_120_sml.jpg" width="342" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;ARCADE IN THE PRINCIPAL COURT.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_108" id="ill_108"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_121_lg.jpg">
+<img src="images/ill_121_sml.jpg" width="477" height="380" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;VIEW OF THE INTERIOR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span>&nbsp; </p>
+
+<p class="nind">for six centuries, changed its original construction in such a degree
+that it no longer resembles, to-day, the original Oriental monument,
+although we have covered it with arabesques, and embellished it with
+mosaics and gilding.”</p>
+
+<p>All that succeeding generations have constructed in the alcazar has
+contributed to deprive it of its Mohammedan character. Transformed into
+a lordly mansion of more modern epochs, one no longer sees there the
+voluptuous saloons of the harem, nor the silent spaces reserved for
+prayer, nor the baths, nor the fountains, nor the strong ramparts,
+supporting the galleries, which, by circular paths, communicated with
+the rich sleeping apartments, situated in the square towers. It is not
+that Arab art is in a different form here to that seen in other parts of
+Spain; but while the Moors always built palaces in close proximity to
+fortified places, they here combined the two, and for that reason they
+sacrificed the exterior decoration to the works of fortification and
+defence. On approaching the palace, one finds marks of grandeur, but one
+must not look for them in the structure, but rather in the numerous
+reparations and additions which have been made there, and also in the
+solid walls, dominating the ruins of those castles, which seem to
+protest eternally against the cold indifference with which so many
+generations have passed over them. And if, on the one hand, there is no
+doubt that this is the old wall or the ancient tower, on the other hand,
+the traveller, greedy for impressions left by a past world, finds
+nothing but square enclosures, gardens and rectangular saloons of the
+mansions of the 16th century. Here there is nothing so majestic as the
+Giralda; nothing so essentially Oriental as the mosque of Cordova;
+nothing so fantastic and so picturesque as the alcazar of Granada. One
+only sees here the chronicle of an art, carried out by a thousand
+artists, obeying different<span class="pagenum"><a name="page_264" id="page_264">{264}</a></span> beliefs, and which presents rather the
+appearance of a game played by children who had invaded the spot where
+the most valued works of their ancestors were preserved, rather than the
+passionate conception of the terrible descendants of Hagar, who in fifty
+years invaded half the globe. But one still catches something of the
+spirit of an art that was almost a religion, as one lingers in the quiet
+gardens of the alcazar; the deep impress of the Moor will never be
+entirely obliterated from the courts and saloons of this palace of
+dreams. As Mr. W. M. Gallichan writes: “The nightingales still sing
+among the odorous orange bloom, and in the tangle of roses, birds build
+their nests. Fountains tinkle beneath gently waving palms; the savour of
+Orientalism clings to the spot. Here wise men discussed in the cool of
+summer nights, when the moon stood high over the Giralda, and white
+beams fell through the spreading boughs of lemon trees, and shivered
+upon the tiled pavements. In this garden the musicians played, and the
+tawny dancers writhed and curved their lissom bodies in dramatic Eastern
+dances.”</p>
+
+<p>Ichabod! The moody potentate, bowed down with the cares of high office,
+no longer treads the dim corridor, or lingers in the shade of the palm
+trees. No sound of gaiety reverberates in the deserted courts, no voice
+of orator is heard in the Hall of Justice. The green lizards bask on the
+deserted benches of the gardens. Rose petals strew the paved paths.
+One’s footsteps echo in the gorgeous patios, whose walls have witnessed
+many a scene of pomp, tragedy, and pathos. The spell of the past holds
+one; and, before the imagination, troops a long procession of
+illustrious sovereigns, courtiers, counsellors, and warriors.</p>
+
+<p>This wonderful monument, which has moved generations of artists and
+poets to rhapsody and praise, and inspired<span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<p><a name="plt_XXVIII" id="plt_XXVIII"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_122_lg.jpg">
+<img src="images/ill_122_sml.jpg" width="574" height="392" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>PLATE XXVIII
+
+SEVILLE.</p>
+
+<p>ALCAZAR.</p>
+
+<p>Details of Hall of Ambassadors.</p></div>
+</div>
+
+<p class="ills"><a name="ill_109" id="ill_109"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_123_lg.jpg">
+<img src="images/ill_123_sml.jpg" width="475" height="369" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;COURT OF THE DOLLS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_110" id="ill_110"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_124_lg.jpg">
+<img src="images/ill_124_sml.jpg" width="351" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;COURT OF THE DOLLS, MOORISH STYLE, BUILT 1369-1379.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span>&nbsp; </p>
+
+<p class="nind">that picturesque Italian author, De Amicis, to people the gardens of the
+alcazar with Mo’temid and his beautiful favourite, Itamad, who had been
+dead nearly a century before the alcazar was erected, failed to create
+any impression in the mind of Mr. John Lomas, whose strictures upon the
+place in his <i>Sketches of Spain</i> must ever be a standing reproof to
+those who dare to see Oriental beauty in this Sevillian castle. “Greater
+far,” says Mr. Lomas, “is the alcazar in reputation than in intrinsic
+worth. Like the Mother Church, it forms a sort of sightseers’ goal, and
+it shares equally in the good fortune of so entirely satisfying the
+requirements of superficial observers, that it is esteemed a kind of
+heresy to take exception to its noble rank as a typical piece of Moorish
+work. Yet it is just a great house, of southern and somewhat ancient
+construction&mdash;say the fifteenth century&mdash;with a number of square rooms
+and courts, arranged and decorated after Arab models as far as was
+possible in the case of a building designed to fulfil the requirements
+of Western civilisation. Nothing else. Of course, if the courts and
+towers of the Alhambra have not been seen&mdash;or are not to be
+compassed&mdash;there will be found here an infinity of fresh loveliness in
+design and colouring, together with a vast amount of detail which will
+repay study. But even then it must all be looked upon as an exceedingly
+clever reproduction of beautiful and artful forms, not as their best
+possible setting forth, or type. There are dark winding
+passages&mdash;evidently dictated by the exigencies of the work&mdash;but they
+yield none of the delicate surprises which form so great a charm of the
+old Moorish monuments. There is any amount of rich decoration and
+Moresque detail; but never the notion of the luxury and voluptuousness
+of Eastern life, or a suggestion of its thousand-and-one adjuncts. There
+are, here and there, indubitable traces of the original Eleventh<span class="pagenum"><a name="page_270" id="page_270">{270}</a></span>
+Century alcazar of Yakub Yusuf” (it was not built until the latter part
+of the twelfth century) “but there is nothing either distinctive or
+precious about them, and the rest is a record rather of Christian than
+Arab ways.”</p>
+
+<p>Mr. Lomas is perfectly correct in suggesting that the alcazar of Seville
+is, in great measure, a reproduction of the delights of the Alhambra, a
+reproduction due, without any doubt, to that school of architecture
+which embellished the sumptuous palace of Granada for the kings of the
+second Nazarite dynasty. In it we see the record of the ingenious
+almizates, of its gates and ceilings, of those stalactited domes, which
+dazzle and confuse, of those wall-facings encrusted with rich
+ornamentation, of those graceful Byzantine and Moorish geometrical
+designs, which even to-day are the despair of perspective painters, of
+those enchanting saloons where the genius of harmony seems to rest, and
+of those balmy gardens which invite repose, meditation, and melancholy.</p>
+
+<p>While it is generally accepted that the city of Seville possessed no
+alcazar of striking importance until the declining power of the
+khalifate of Cordova made Seville the capital of an independent kingdom,
+there is substantial reason for believing that in the foundations of the
+present superb edifice there are unmistakable relics of an earlier work
+of truly Arab architecture. The Almohades so thoroughly effaced and
+distorted the magnificence of their predecessors’ work that it would be
+impossible to point with certainty to any of the original remains of
+this many-times-restored palace. The ultra-semi-circular arches which
+are seen in the Hall of the Ambassadors, those graceful arches which
+carry the mind from Seville to the graceful arcades of the mosque of
+Cordova, incline one to regard this apartment as a relic of Abbadite
+antiquity, while the rich columns with</p>
+
+<p><a name="plt_XXIX" id="plt_XXIX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXIX.</p></div>
+<a href="images/ill_125_lg.jpg">
+<img src="images/ill_125_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Blank Window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<p class="ills"><a name="ill_111" id="ill_111"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_126_lg.jpg">
+<img src="images/ill_126_sml.jpg" width="375" height="475" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;THE COURT OF THE DOLLS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_112" id="ill_112"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_127_lg.jpg">
+<img src="images/ill_127_sml.jpg" width="372" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;RIGHT ANGLE OF THE COURT OF THE DOLLS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<p><a name="plt_XXX" id="plt_XXX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXX.</p></div>
+<a href="images/ill_128_lg.jpg">
+<img src="images/ill_128_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Soffit of Arch.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<p class="nind">their gilded capitals of the Corinthian style appears to contain
+authentic proof of their Arabic-Byzantine origin. Señor Pedro de
+Madrazo, whilst admitting the difficulty of determining the period to
+which the various parts of the alcazar belong, disregards the
+conclusions of Señores José Amador de los Rios and his son Rodrigo, who
+resolutely denied the antiquity of these ultra-semi-circular arches, and
+declares the Hall of Ambassadors to be an example of Abbadite
+architecture. He further attributes to the same epoch, the showy
+ascending arcade of the narrow staircase which leads from the entrance
+court to the upper gallery, and rises near the balcony or choir of the
+chapel, and the three beautiful arches, sustained by exquisite capitals,
+which remain as the sole relic of the decoration of the abandoned
+apartment situated close to the “Princes’ Saloon.”</p>
+
+<p>In his work on “Sevilla,” the same authority distinguishes between the
+art of the Mudejare, or transition artificers, and that of the Almohado
+Moors. “The latter art,” he observes, “is less simple, less select in
+its ornamentation, discloses less rational regularity, and is, generally
+speaking, more affected.” These differences may be seen in a comparison
+between the Moorish Giralda of Seville and the beautiful creation of
+artists of the Arab-Andalusian period which are to be studied in the
+ornamental parts of the Alhambra. The Almohade architecture displays a
+base taste, which imitates rather than feels, and creates forms by
+exaggerations which are unsuitable to the design, and thus differs in
+æsthetic principles from the Mudejaren-Moorish work of the 13th, 14th,
+and 15th centuries, which reveals an instinctive feeling for the
+beautiful in ornamentation, which never loses sight of the elegant, the
+graceful, and the bold, and consequently never falls into aberration.
+The Almohade period, in short, discloses at once the force of the
+barbarous<span class="pagenum"><a name="page_276" id="page_276">{276}</a></span> spirit civilised by conquest, while the latter offers the
+enduring character of cultured taste and wisdom in all the epochs of
+prosperous or adverse fortune; both are the faithful expression of
+people of different ages, origins, and aptitudes. “It is certain,”
+declares Señor de Madrazo, “that the innovations which characterise
+Mussulman architecture in Spain in the 11th and 12th centuries, cannot
+be explained as a natural mutation from the Arab art of the khalifate,
+or as a preparation or transition to the art of Granada, because there
+is very little similarity between the style called secondary or Moorish
+and the Arab-Byzantine and Andalusian, while on the other hand it is
+evident that the Saracen monuments of Fez and Morocco, of the reigns of
+Yusuf ben Texpin, Abdel-ben-Ali, Elmansur and Nasser, bear the principal
+character of the ornamentation which the Almohades made general in
+Spain.”</p>
+
+<p>It must always be remembered when approaching the forbidding exterior of
+the alcazar, that it was erected to serve the purpose of a fortress as
+well as a palace. Yusuf is supposed to have used a Roman prætorium as
+the foundation of his castle, and there are parts of the wall which date
+back to Roman times. But the principal gateway which gives entrance to
+the palace is of Arab origin, and it is evident that all the upper part,
+from the frieze with the Gothic inscription, is purely Mohammedan,
+according to the Persic style, very much used in the entrances to
+mosques of the first period, in Asia. The two pilasters, in their entire
+height, as well as the sculptured framing of the lower part, are of the
+Arab style; but the balconies with arches, and Byzantine columns, the
+Roman capitals, the lintels of the doors and windows with Gothic
+springs, are indications, which prove the reconstruction of the time of
+Don Pedro. The later restorations have not completely<span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<p class="ills"><a name="ill_113" id="ill_113"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_129_lg.jpg">
+<img src="images/ill_129_sml.jpg" width="406" height="515" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;COURT OF THE DOLLS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_114" id="ill_114"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_130_lg.jpg">
+<img src="images/ill_130_sml.jpg" width="478" height="366" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;UPPER PART OF THE COURT OF THE DOLLS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span>&nbsp; </p>
+
+<p class="nind">changed the primitive form, but have only modified it. On entering the
+palace one finds other works less Arab than these, the ornaments do not
+form an integral part of the decoration, and one can observe that in
+order to place them it was necessary to remove inscriptions and
+Mohammedan shields which filled the little spaces.</p>
+
+<p>But in passing this square entrance, whose form recalls Egypt, and which
+began to be used when the horseshoe arch was no longer in vogue, we find
+ourselves in the chief courtyard of the alcazar, which makes a slight
+detour in order not to be overlooked from the street, and which offers
+an extravagant assemblage of lines without departing from exactness. The
+actual lines of this superb edifice, mentioning principally the two
+types of architecture which prevail, are the Moorish of the works
+erected from 1353 to 1364, and the Renaissance, in the works carried out
+under the monarchs of the house of Austria.</p>
+
+<p>It is curious that while the Alhambra was allowed to fall into decay,
+and suffered periods of neglect that could be reckoned by scores of
+years at a stretch, the alcazar has seldom been free from the hands of
+the restorers. The fact accounts, of course, for the splendid state of
+preservation in which it is to be found to-day, but it also owes to it
+the weird incongruity of style and decoration which lovers of pure
+Moorish art deplore. After Pedro had almost entirely reconstructed the
+palace&mdash;and to him the alcazar owes many of its best portions&mdash;it came
+under the restoring influence of Juan II., that weak but artistic
+monarch, whose handiwork is seen in some of the chief apartments. The
+arch-vandal, Charles V., whose palace in the Alhambra would be a work of
+art anywhere save on the spot on which he chose to erect it, could not
+be expected to spare the alcazar. Under his direction the greater
+portion of the Renaissance additions<span class="pagenum"><a name="page_282" id="page_282">{282}</a></span> were made, and the portraits of
+Spanish kings hung in the Hall of Ambassadors were introduced by his
+successor. In the 17th century this favourite residence of the kings of
+Spain attained to the zenith of its magnificence; and then for a whole
+century the palace was allowed, for the first and only time, to fall
+into a state of disrepair. Spain was passing through troublous times,
+and its rulers had weightier matters to absorb their attention. The
+alcazar, stricken by neglect, shrank to something like its original
+proportions, and its beauties fell into decay. In the middle of the 19th
+century Queen Isabella II. rescued the ancient structure from the
+ravages of time, and the present order and distinction which it now
+enjoys is largely due to her timely efforts.</p>
+
+<p>After the restorations made by Don Pedro were finished, the alcazar had
+various entrances, but the principal were the two opened in the old Arab
+wall, which lead to the courts called the “Banderas y de la Monteria.”
+The delicate pointed arches which composed them were almost hidden
+between the massive towers of the neighbouring minaret; nothing
+externally reveals the dazzling beauty which is to be seen behind these
+walls.</p>
+
+<p>In the courtyard one sees very fine ornaments placed hap-hazard, which
+had been left over from the last restorations of the palace of Granada,
+and which were sent here without any consideration for period or style.
+That this system prevailed can be proved by reference to the archives of
+the royal patrimony, where there is a document requesting, on the part
+of the keeper of the alcazar, that some of the “best” arabesques, which
+were being used for the restorations at Granada, should be sent to
+Seville. These ornaments, of different epochs and styles, can be seen on
+the walls of the alcazar, face to face with others corresponding to the<span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<p class="ills"><a name="ill_115" id="ill_115"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_131_lg.jpg">
+<img src="images/ill_131_sml.jpg" width="596" height="314" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;UPPER PORTIONS OF THE COURT OF THE DOLLS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_116" id="ill_116"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_132_lg.jpg">
+<img src="images/ill_132_sml.jpg" width="550" height="294" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;COURT OF THE DOLLS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span>&nbsp; </p>
+
+<p class="nind">infancy of the art. The Alhambra does not suffer from these
+incongruities, because it has not suffered a great transformation
+similar to that which the alcazar underwent at the hands of Don Pedro.
+It has not been altered to suit the requirements of a Christian court,
+and it has never been occupied by great personages, with large revenues
+at their disposal, to reconstruct it according to their caprice.</p>
+
+<p>The ornaments of the ceilings of the alcazar are magnificent, because,
+as Contreras points out, the Moorish workmen were beginning to
+understand all the majesty and grandeur that Christian art stamped upon
+the complicated and minute assemblage of Mussulman edifices; they began
+to make rich coverings, with bolts or stays with apertures, and with
+hollows in the form of an arch, and keystones imitating rhombus, stars,
+and bow ornaments. The famous Gothic roofs and ceilings of the Bretonne
+buildings of the ninth century have never been able to equal this one,
+because here one finds more beautiful specimens than in the other
+edifices, when the vaults with little stalactites had not yet acquired
+their complete development. The perfectly-worked and carved designs of
+the doors give a great relief to the palace. One remarks here that the
+ceilings are less magnificent or luxurious, when the ornamentation is
+less classic, and, as at Fez, the walls were covered with hangings
+instead of reliefs in plaster; and then they used more gold in the
+cornices, in the friezes, in the domes, in the lintels, and in the
+crownings, whilst the walls remained bare, as in the Moz-Arabian
+constructions. There was here such a mixture of styles, such a confusion
+of ideas, and such a number of little quadrangular windows, which
+interrupt the general line of the ornamentation, as one does not see
+anywhere else. One sees, too, walls covered with arabesques, stretching
+like pieces of tapestry or coverings of bright<span class="pagenum"><a name="page_288" id="page_288">{288}</a></span> colours, and which
+produce a rich effect, beautiful and varied, thought-out and
+elegant&mdash;but not at all simple&mdash;which is the chief condition of art in
+the epochs of great culture.</p>
+
+<p>In going through this alcazar one sees nothing but square saloons, one
+following the other, of the same shape and dimensions, occasionally
+varied by the composition of the arabesques traced there. Symmetry has
+been sacrificed to convenience, and the central arches to the alignment
+of the doors. In the time of the Arabs the alcazar constituted a series
+of constructions, flanked by the walls and the towers, which surrounded
+the town, which had not the symmetrical form of the rectangular plan of
+the buildings of the Renaissance. Neither does it resemble the palaces
+of Egypt or of Syria. These quays, placed side by side, give this
+edifice the appearance of a Christian house of the fifteenth century;
+and one can only confidently give the name “Arab” to the Court of the
+Damsels, the Hall of Ambassadors, and the apartments immediately
+adjoining it.</p>
+
+<p>The Court of the Banners, and of the Hunters, lead to the Court of the
+Principal Façade, where one sees the first specimen of Mussulman
+decoration! In all these divisions the monument is only revealed by the
+vestiges of battlements of the towers and of the walls, in which the
+original doors were opened, and where the sultans had the chambers for
+judging the quarrels of their subjects,&mdash;a custom perpetrated by the
+Christian monarchs. In the Court of the Hunters one can still see the
+apartment named the Hall of Justice, where all writers suppose that the
+audiences were held. Here Don Pedro held his tribunal; and the
+traveller, Don Antonio Ponz, asserts that he saw one of the columns of
+the memorable seat occupied by the monarch when he held those famous
+audiences, which were an imitation of the<span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<p class="ills"><a name="ill_117" id="ill_117"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_133_lg.jpg">
+<img src="images/ill_133_sml.jpg" width="476" height="359" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;THE LITTLE COURT.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_118" id="ill_118"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_134_lg.jpg">
+<img src="images/ill_134_sml.jpg" width="344" height="479" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;VIEW IN THE LITTLE COURT.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<p><a name="plt_XXXI" id="plt_XXXI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXI.</p></div>
+<a href="images/ill_135_lg.jpg">
+<img src="images/ill_135_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Cornice at Springing of Arch of Doorway at one of the Entrances.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<p class="nind">judgments of the East and of the feudal lords of the West, and which
+magnified the idea of justice in the eyes of foolish and irreflective
+people, but which were held by men of good sense to be a mere pretence
+of equity, with which to mask his tyranny. The place where justice was
+administered in the time of the Almohadan kings was in the Court of the
+Monteria&mdash;a vast and beautiful apartment, one of the oldest
+constructions in the alcazar, and of a more purely Moorish style.</p>
+
+<p>The Court of the Hunters leads to another larger court, known as the
+Princes’ Hall. This is more regular in form, and in it rises the chief
+entrance, dazzling and richly ornamented with painting and gilding, from
+its twin windows to the topmost moulding of its projecting eaves, of the
+purest Almohadan style. How can one describe it? Not only the entrance,
+but the whole façade is of precious marbles, the capitals of the columns
+being in the most exquisite Moorish taste; and the facia of interlaced
+arches above the doorway display the escutcheons of Castile and Leon;
+while round another facia, running between the brackets over the twin
+windows of the principal floor, there is a legend in Gothic characters,
+which says: “The very high, and very noble, and very powerful, and very
+victorious Don Pedro, King of Castile and Leon, commanded these
+alcazars, and these palaces, and these doorways to be made, which was
+done in the era of one thousand four hundred and two.” The cupola of the
+Princes’ Hall rises above this façade, its outer walls being adorned
+with little arches and blue tile work, in imitation of a pyramid, and
+bearing at its summit, in the Oriental fashion, a weather-cock with
+gilded spheres.</p>
+
+<p>On entering the vestibule, one sees first the result of unfortunate
+modern reformations, little rooms or recesses to<span class="pagenum"><a name="page_294" id="page_294">{294}</a></span> right and left, now
+almost stripped of their ancient ornamentation. On taking the corridor,
+which is at the back of a sort of ante-chamber, nearly square, one
+arrives at the chief inner court called the Court of the Damsels. There
+is an unfounded tradition which says this court derives its name from
+the disgraceful tribute of one hundred damsels levied by Mauregato, and
+paid to the khalifs of Cordova, it being supposed that the throne upon
+which the Moorish king sat when receiving this tribute was situated in
+this court. In point of fact, as Pedro de Medrazo reminds us, there were
+no Moorish kings in Spain, and neither was Seville the capital of the
+Andalusian khalifate, nor can it be asserted that there was a Saracen
+palace there before the eleventh century. Without any doubt this court
+was part of the great restorations of the fourteenth century. Its plan
+is a rectangle, with galleries of marble columns in couples and pointed
+mitred arches; the central arches of each side are higher than the rest,
+and instead of resting, as these do on the columns, they are supported
+by small square pillars, which appear to be held up by the capitals.
+These small pillars have beautiful little columns at their angles, which
+at first sight seem to be a prelude to the caprices of the Renaissance,
+which loved so much to surmount one style by another; but here it is
+really an accident very characteristic of the Arabic-Granadian
+architecture, such as is often to be noticed in the Courts of the
+Alhambra.</p>
+
+<p>These arches are only seen in the façade here, in the House of Pilate,
+and in the buildings of the eighth century in the East. One could not
+explain them unless there were hanging decorations, such as tapestries
+attached to the walls, which were neither seen nor guessed in the
+intercolumniations. It is a strange shape, which is elegant on account
+of the lobules, the point, and the horseshoe<span class="pagenum"><a name="page_295" id="page_295">{295}</a></span>-formed</p>
+
+<p class="ills"><a name="ill_119" id="ill_119"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_136_lg.jpg">
+<img src="images/ill_136_sml.jpg" width="343" height="471" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;VIEW OF THE HALL OF AMBASSADORS FROM THE LITTLE COURT.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_120" id="ill_120"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_137_lg.jpg">
+<img src="images/ill_137_sml.jpg" width="350" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;HALL OF AMBASSADORS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span>&nbsp; </p>
+
+<p class="nind">span, which at a later period regulated the arches of the palaces of
+Fez, of Tunis, and of Cairo.</p>
+
+<p>The second gallery of the Court of the Damsels, added to the ancient
+construction, is an addition of little importance; but it is a fine
+court, if one considers the modifications of its style, its socles
+showing beautiful panels of decorated porcelain of admirable delicacy.
+Different doors lead to the saloon of Charles V., to that of the
+Ambassadors, and to those of the “Caracol,” or of Don Maria de Padilla.
+They have scarfs cut into polygons, which cover them on both sides, but
+this fine work has been badly restored with stucco barbarously painted.</p>
+
+<p>The Hall of Ambassadors is a square apartment of a solemn aspect, with
+four frontages composed of high arches, which enclose twin windows,
+placed on slender columns, whose little arches are more than
+semi-circular, without having the characteristic form of the
+horse-shoe,&mdash;a curve which marks the decadent transition. The capitals
+are degenerate Greco-Roman; but the great decorative arch with running
+knots, although it has an Arab curve, has not the two squares in height
+from the floor of the hall, and that deprives it of elegance in its
+ornamentation. The spaces, or triangles, are not original, the work is
+interrupted, as in the inner side of the wall of the frontage, by
+shutters which open, as though escaping from the tympan of the twin
+windows. A wide frieze of windows, or painted transparencies, stretches
+above, in an admirable manner, and higher still there is a geometrical
+band of ornaments in the form of knots, and then come architraves and
+supports on which the roof rests. The sub-basements of porcelain are
+adorned with arabesques, and the connecting doors are decorated with
+almost exaggerated profusion. The open balconies, with the eagles on
+their consols, are an eternal<span class="pagenum"><a name="page_300" id="page_300">{300}</a></span> affront for him who had them made; and we
+may say the same thing of the portraits with Gothic frames, placed under
+the arch-like hollows of the walls, and also of the gilding, which has
+not the fine ornamentation of blue, red, and black, which renders these
+little vaults more graceful, when they are done by Arabs. The spherical
+cupola, with rafters with arabesques forming stars of symmetrical
+polygons, may have been constructed for stained glass windows at a
+higher light, but later it was ineffectively decorated with little
+mirrors. The mosaics have been restored with pieces larger than the
+originals, and the jasper columns seem to be Roman and not Arab, as do
+many others of the decadence; and the capitals too, without uniformity,
+and unsuited to the columns, appear to be Moz-Arabian work, which is
+seen in many of the Saracen mosques.</p>
+
+<p>The type of the African inscriptions in the alcazar is not as fine or as
+pure as are those in the Hall of Comares at Granada; but on the other
+hand the classic character of the cufic inscriptions here is more
+uniform and more simple. The ornaments, in the shape of leaves, of pine
+cones, and of palms interlaced with ribbons, with geometrical outlines,
+is a style that is no longer seen after the beginning of the Thirteenth
+Century. The little windows, in parallelograms above the doors, the
+Roman imposts, the Gothic carvings, and the escutcheons with broken
+chiselings shown in this palace, are the work of several generations who
+were wanting in the consciousness of art.</p>
+
+<p>Yet the Hall of Ambassadors is beyond dispute the most splendid and
+beautiful apartment of all the palaces of Moorish architecture belonging
+to the Crown in Spain. The painting and gilding of arabesques, the
+lovely carved wooden ceilings, now shaped like inverted bowls, now like
+sections of a sphere, and now like capricious many-sided<span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<p class="ills"><a name="ill_121" id="ill_121"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_138_lg.jpg">
+<img src="images/ill_138_sml.jpg" width="514" height="397" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;INTERIOR OF THE HALL OF AMBASSADORS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_122" id="ill_122"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_139_lg.jpg">
+<img src="images/ill_139_sml.jpg" width="376" height="472" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;HALL OF AMBASSADORS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span>&nbsp; </p>
+
+<p class="nind">figures, which reflect the light and shade with a marvellous effect; the
+inscriptions in African characters; the rich doors of marquetry,
+surrounded by Arabic invocations (a beautiful work done by artificers of
+Toledo); the columns of various marbles with capitals of exquisite cut,
+now primitive, now Almohadan, now Moorish; the variegated marble of the
+pavement, the perforated stucco of the partitions, the ingenious work,
+with birds introduced in the doorways; and finally this strange
+combination of five different styles, which in theory is so impossible,
+and in practice so harmonious&mdash;Arabic, Almohadan, Gothic, Granadian, and
+Renaissance&mdash;to be seen in so many apartments of the alcazar, but more
+especially in this hall, are things which the pen could never describe
+satisfactorily, and which must be left to the impression produced by a
+sight of the original, or to a contemplation of its pictured
+representation. For this reason one may not endeavour to describe,
+either technically or minutely, this magnificent hall, to the gradual
+architectural composition of which overseers and workmen of so many
+different times contributed. The Abbaditas made the bold horse-shoe
+arches of the lower part; the Almohadans, and afterwards the school of
+Christians of Granada which arose, carried out the work of ornamenting
+the walls with the ornamental arches, the perforated windows, the facias
+of little interlaced arches, and the inscriptions; and they covered the
+hall with the marvellous dome shaped like an inverted bowl. It is
+probable that the architects of the Catholic monarchs constructed the
+third body in the pointed style, forming a series of corrupted trefoils
+bordered with lilies, in whose centres the portraits of the kings of
+Spain, from Chindasvinto, are reproduced; and, finally, the kings of the
+House of Austria added the third body of the decoration, four balconies,
+of great projection, which doubt<span class="pagenum"><a name="page_306" id="page_306">{306}</a></span>less formerly were twin windows
+(ajimeces) with one or more columns, supported by griffons gilded, and
+of bold outline.</p>
+
+<p>It was probably in this saloon that the ceremonious and perfidious
+reception of Abu Said, King of Granada, by Don Pedro took place. The
+usurper of the Throne of Granada presented himself to the owner of the
+alcazar, thinking he had ensured his personal safety by the gifts he had
+forwarded, and by his complete submission to the wishes of his host. But
+after being entertained at a splendid supper, he was rewarded with
+prison, and death, accompanied with the most horrible mockeries. Amongst
+the jewels, with which the unhappy Abu Said is supposed to have hoped to
+win the heart of his faithless enemy, was the immense ruby, which to-day
+shines in the royal crown of Edward VII. It was given by Don Pedro to
+the Black Prince; it later came into the possession of Queen Mary Stuart
+of Scotland, and through her son, James I., returned once more to
+England.</p>
+
+<p>If the Hall of Ambassadors is rich, the Court of the Dolls is not less
+so in its own style. This, with some other saloons, constituted one of
+the remaining splendours of the alcazar which are associated with Don
+Fadrique, Master of the Order of Santiago, the timid son of Alonso XI.
+We cannot tell from what source this court has received its modern
+denomination. In the old chronicles there is no trace of such a name;
+but they, and tradition, have handed us down copious notes, all of which
+make this part of the alcazar the theatre of that sanguinary drama of
+the Fourteenth Century. After reading these chronicles and romances, one
+imagines the ghosts of the actors moving about the apartments; one sees
+Don Pedro, who has already planned his execrable plot, receiving, with
+false expressions of interest, his half-brother Don Fadrique; one sees
+the lovely Padilla,<span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<p class="ills"><a name="ill_123" id="ill_123"></a></p>
+
+<p class="ills"><a name="ill_124" id="ill_124"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>SEVILLE</p></div>
+<a href="images/ill_140_lg.jpg">
+<img src="images/ill_140_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>
+ALCAZAR&mdash;THRONE OF JUSTICE.
+</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>
+ALCAZAR&mdash;HALL OF AMBASSADORS.
+</p>
+</td></tr>
+</table>
+
+</div></div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_125" id="ill_125"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_141_lg.jpg">
+<img src="images/ill_141_sml.jpg" width="475" height="352" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;FAÇADE OF THE COURT OF THE VIRGINS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<p><a name="plt_XXXII" id="plt_XXXII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXII.</p></div>
+<a href="images/ill_142_lg.jpg">
+<img src="images/ill_142_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Borders of Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<p class="nind">sad and terrified in her room, in the “caracol” apartments, wishing to
+reveal the danger which awaits him to the Master, but not daring to do
+so; and one also seems to feel the impending doom of the eccentric
+prince, when he is deprived of the help of his servants, whom the
+porters force to leave the courtyard with their mules, where they were
+waiting for their lord. And finally we see the return of Don Fadrique to
+the presence of the irritated monarch, who has called him, and who has
+ordered that his companions shall be detained outside the doors, whilst
+the stewards of the king kill his unfortunate brother. Fadrique, after a
+desperate struggle, manages to escape from the murderers and to reach
+the court, looking for the postern of the corral, which he fancies is
+open&mdash;all the time making unavailing efforts to draw his sword, the
+handle of which has become entangled in the cords of his sash&mdash;and there
+at last he falls, his head being crushed by a blow of a club. Other
+accounts declare that when Fadrique returned to Don Pedro’s apartment,
+after paying a courtesy visit to Maria de Padilla, he was met with the
+sentence, shouted in the king’s voice, “Kill the Master of Santiago!”
+Don Fadrique drew his sword and made a valorous defence, but was
+overpowered and struck down by blows on the head. Seeing that his
+half-brother was still breathing, the king handed his own drawn dagger
+to an attendant and commanded him to kill the Master outright.</p>
+
+<p>To-day we cannot say positively which was the “Palacio del Yeso,” or
+“Palace of stucco or lime,” where Don Pedro received his unhappy
+half-brother, nor yet which were the apartments of the “caracol.” It is
+thought the court which has the chief façade of the alcazar was that
+which in the chronicle is called the “caracol,” and that the “postern”
+was that which led from this court to that of the<span class="pagenum"><a name="page_312" id="page_312">{312}</a></span> “banderas.” It is
+true that tradition persists in pointing out the Court of the Dolls and
+the Hall of Ambassadors as the theatre of this horrible fraticide,
+without taking into account the notes of the historian, who relates that
+Don Fadrique, pursued by his murderers, ran in the direction of the
+postern, where he had been warned that he could make a stand, but found
+that all his escort had been driven out.</p>
+
+<p>The King Don Pedro fills with his grand sinister figure the apartments
+which he occupied, and even those added by later monarchs, just as the
+whole gloomy pile of the Escurial seems to be haunted by the ambiguous
+personality of Philip II. Sad privilege of despots; the terror which
+they inspire in life, survives them, freezing the smile of happiness on
+the lips of generations, who are free from their malevolent actions,
+even in the very chambers which they dedicate to their pleasures.</p>
+
+<p>The architecture of the Court of the Dolls is purely in the style of
+Granada. The surface of the arches is covered with minute mosaic work,
+and they rest upon beautiful brick pillars, sustained by marble columns
+with delicate capitals, while the double partitions, covered with
+perforated work, are of brick, wood, and stucco. Delicate tints cover
+the ornamentation with a beautiful veil, which is like a lovely Persian
+tapestry. This court is a rectangle with unequal sides; there is a great
+arch in those looking towards the Hall of Ambassadors, somewhat
+pear-shaped, between two smaller arches of the same form; in the other
+two sides there is a large arch and a smaller one, all resting upon
+graceful columns of different colours, in the capitals of which
+(believed to belong to the primitive epoch, on account of their
+resemblance with those of the primitive part of the Mosque of Cordova)
+there is a freshness and delicacy of line which holds the imagination
+captive. The<span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<p class="ills"><a name="ill_126" id="ill_126"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_143_lg.jpg">
+<img src="images/ill_143_sml.jpg" width="348" height="482" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;INTERIOR OF THE COURT OF THE VIRGINS, MOORISH STYLE, BUILT
+1369&mdash;1379.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_127" id="ill_127"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_144_lg.jpg">
+<img src="images/ill_144_sml.jpg" width="516" height="401" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;GENERAL VIEW OF THE COURT OF THE HUNDRED VIRGINS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span>&nbsp; </p>
+
+<p class="nind">entablatures, which are borne by the columns, are finely decorated with
+vertical borders, formed by inscriptions in cufic characters. The upper
+part of this lovely court has been spoilt by bad restorations.</p>
+
+<p>The Hall of Ambassadors, as well as the Court of the Dolls, is
+surrounded by beautiful saloons, starting from the chief façade of the
+alcazar, running round the north-east angle of the building, and forming
+a series of mysterious and voluptuous rooms adjoining the galleries of
+the “Gardens” of the “Princes” of the “Grotto” and of the “Dance,” till
+they terminate at the other south-west corner of the Court of the
+Damsels where the chapel used to be, and where it is believed the
+luxurious apartments of the “caracol” stood. According to tradition they
+were at the eastern side of the Court of the Damsels where the lower
+chapel stands to-day; this space adjoins at its north-east corner the
+baths, which still bear the name of the unhappy favourite, more worthy
+of pity than of hatred; and they also lead, by a narrow and almost
+hidden staircase,&mdash;the oldest in the alcazar,&mdash;to the bedroom of Don
+Pedro, situated in the story above. Nothing remains of the dwelling
+which the enamoured king prepared for the woman he loved most in his
+distracted and changeful life.</p>
+
+<p>The entrance to the famous and regal baths of Doña Maria de Padilla is
+in the garden of the “Dance,” below the saloons constructed in the time
+of Charles V. It is supposed they were used by the sultanas, whilst the
+Saracen court was at Seville. They are surrounded by orange and lemon
+trees, and not enclosed by those massive walls which give the appearance
+of a gloomy dungeon. At the eastern extremity of the garden of the
+“Dance” there is a tank or fountain. It is said that one day the king,
+being much preoccupied with the choice of a judge to whom to confide a<span class="pagenum"><a name="page_318" id="page_318">{318}</a></span>
+very complicated and obscure case, drew near this tank, and cutting an
+orange in two, threw one half on the surface of the water, where it
+floated. He then sent for one of his judges and asked him what he saw
+floating on the water. “An orange, Sire,” was the reply. He received the
+same answer from several other judges whom he summoned; but finally came
+one who, when asked the question, broke off a branch of one of the trees
+near by, and with it drew the fruit floating on the water to the edge,
+when he answered, “Half an orange, Sire.” Whereupon the monarch decided
+to entrust him with the conduct of the case.</p>
+
+<p>The strange character of Don Pedro, and his manner of administering
+justice, take us now to the upper floor of the alcazar, to the
+south-east corner, where, at the end of a series of saloons of little
+interest, with rich bowl-shaped ceilings and cornices of mosaic, there
+is the king’s sleeping chamber, whose walls still preserve the high
+socle of inlaid tile work, the stucco ornaments with borders of
+inscriptions in African characters, and the recessed windows with
+shutters, the frieze with stalactites, the ceiling of good design and
+beautiful gilding, and an alcove with a mosaic arch. Near one of the
+corners there is a bas-relief in one of the walls, representing a man
+seated with his body twisted towards the entrance door, and his head
+turned upwards, as though contemplating the skull which is to be seen
+above the facia of African characters. It appears that this horrible
+emblem was placed there by order of Don Pedro, in order to perpetuate
+the memory of his summary punishment of some deceitful judges.</p>
+
+<p>The Princes’ Hall and the Oratory are the only upper apartments, prior
+to the Renaissance, which are left for us to examine,&mdash;a fire in the
+year 1762 having destroyed many of the rooms of the upper story. But we
+must first<span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<p class="ills"><a name="ill_128" id="ill_128"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_145_lg.jpg">
+<img src="images/ill_145_sml.jpg" width="475" height="368" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;COURT OF THE HUNDRED VIRGINS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_129" id="ill_129"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_146_lg.jpg">
+<img src="images/ill_146_sml.jpg" width="375" height="480" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;COURT OF THE VIRGINS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span>&nbsp; </p>
+
+<p class="nind">take note of the external objects which surround us. Don Pedro’s bedroom
+looks on the south over the gardens; the Princes’ Hall looks north, and
+occupies the upper floor of the chief façade, whose elegant “ajimeces”
+illuminate it. The oratory is in the east wall. In the bedroom there is
+a balcony, which leads to a wide gallery, with other little balconies,
+with seats running round them, at the end of which there is a sort of
+turret, with three semi-circular arches, supported by pairs of marble
+columns, with capitals of the purest Arab style. The spacious gardens
+stretch at our feet, forming a delightful spectacle. From the Princes’
+Hall one can perceive, above the watch-towers of the alcazar, the
+innumerable perforated weather-cocks of the cathedral; and, towering
+over all, like a gigantic sentinel, the Giralda, crowned with the sacred
+sign of the conversion to the faith of Christ.</p>
+
+<p>In the Princes’ Hall and in the Oratory the influence of the pointed
+style of architecture is very noticeable; and yet in studying the arches
+of the Oratory and the little pillars, which surmount the columns in the
+centre, the influence of Moorish architecture on the Gothic or pointed
+architecture of the third period is most striking. The columns of the
+Princes’ Hall, and of the other adjoining apartments, are of marble,
+with very rich capitals. According to Jeronimo Zurita, these columns
+were in the royal palace of Valencia, and were removed after the defeat
+of Don Pedro, King of Aragon, by the King of Castile. There are
+luxurious divans all round the hall, and everything is rich except the
+ceiling, now destroyed, and the floor, which is poor and in very bad
+repair. The Oratory was built by order of the Catholic monarchs in 1504;
+its altar screen has a picture in the centre, representing the
+Visitation, with the signature, “Niculoso Francisco Italiano,” <i>me
+fecit</i>, which<span class="pagenum"><a name="page_324" id="page_324">{324}</a></span> is notable for the mixture of the pure Italian school,
+and the realistic Dutch school in its design. The blue tile plaques of
+this oratory are purely Italian, and perhaps they are the most beautiful
+examples of this class of Christian ornamentation in Andalusia.</p>
+
+<p>Ford says that the Emperor, Charles V., married Doña Isabella of
+Portugal in this oratory, but the statement is not correct. Sandoval,
+better informed, describes the happy event in the following
+words:&mdash;“Eight days after the empress entered Seville, the emperor
+entered, being greeted with the same ceremonies. He went direct to the
+principal church, and from there passed to the alcazar, where the
+empress awaited him, accompanied by the Duchess of Medina-Sidonia, Doña
+Ana of Aragon, and the Marchioness of Cenete, wife of the Count of
+Nassau, and by other great ladies; the empress and her ladies being all
+most richly dressed. Afterwards the emperor arrived; they were married
+that same night by the Cardinal Legate, in the great room which is
+called the “half orange” (the Hall of Ambassadors), in the presence of
+all the prelates and grandees assembled there. The empress appeared to
+all present one of the most beautiful women in the world, as is
+testified to by those who saw her, and by her portraits. The hour of
+supper came, and the emperor and empress retired to their apartments;
+and after midnight, the emperor wishing it thus for religious reasons,
+an altar was erected in one of the apartments of the alcazar, and the
+Archbishop of Toledo, who had remained for the purpose, said mass
+there.”</p>
+
+<p>This marriage, as M. de Latour rightly says, was the last memorable page
+in the history of the alcazar; and the works completed by the emperor
+are the last notable improvements made in the monument. The architects,
+Louis and Gaspar de Vaga, were responsible for important works</p>
+
+<p><a name="plt_XXXIII" id="plt_XXXIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXIII.</p></div>
+<a href="images/ill_147_lg.jpg">
+<img src="images/ill_147_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Borders of Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<p class="ills"><a name="ill_130" id="ill_130"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_148_lg.jpg">
+<img src="images/ill_148_sml.jpg" width="381" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;GALLERY IN THE COURT OF THE HUNDRED VIRGINS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_131" id="ill_131"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_149_lg.jpg">
+<img src="images/ill_149_sml.jpg" width="383" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;THE SULTANA’S APARTMENT AND COURT OF THE VIRGINS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span>&nbsp; </p>
+
+<p class="nind">in the alcazar, the high gallery of the Court of the Damsels, and those
+looking south over the gardens and over the baths of Doña Maria de
+Padilla. New habitations were then erected, which shone with the art of
+the Renaissance, intertwined with the Arab adornments of the style
+called “plateresco.” But the emperor did not confine himself to
+restoring, re-building, and to erecting fresh works in the old alcazar;
+nor were the above-mentioned architects the only ones who worked, but he
+also enlarged and embellished the gardens, and in that which is called
+the “Lion Garden,” he had built by a certain Juan Hernandez, in the year
+1540, an elegant dining hall, of singular architecture&mdash;half Italian,
+half Moorish&mdash;which, without doubt, is a worthy dwelling place for a
+fairy princess of the days of chivalry. This supper hall, or pavilion,
+has a square plan, and measures ten steps in each frontage; a gallery of
+five arches surrounds it on each side, which rest on graceful pillars of
+the rarest marbles with capitals in the Moorish style. A frieze is seen,
+externally made of arabesques, forming ribbons, cutting each other at
+angles, and making stars; all the lower part is faced with blue tiles of
+Triana, with the outlines of the designs in bold relief. Inside there is
+another frieze in the “plateresque” style, cleverly perforated, and a
+socle of blue tiles with a border, in which shine the arms of Castile
+and the imperial eagles. In the centre rises a beautiful fountain with a
+white marble basin. A facia of blue tiles, in imitation of inlaid tile
+work, runs around, and between the work one can read the date of its
+construction and the abbreviated name of the artificer. The dome is of a
+decadent taste.</p>
+
+<p>The wall which encloses these gardens to the west is decorated in the
+style called “vignolesque,” with stout pilasters, and a frontispiece of
+two bodies above the pond<span class="pagenum"><a name="page_330" id="page_330">{330}</a></span> in the garden of the “Dance,” and light
+arches which form a long “loggia” of beautiful effect.</p>
+
+<p>The works carried out under Philip III., and Philip V., and Ferdinand
+VI. are not worthy of close attention. They constructed the parts which
+face the gateway of the “banderas,” containing the “apeadero” and the
+“armeria.” The “apeadero” is a portico thirty-eight yards long and
+fifteen wide, with two rows of marble columns in pairs. The “armeria,”
+or armoury, is a spacious apartment above, destined for the object
+indicated by its name. The epoch of the construction of both is
+testified to by a stone set in the façade, which bears the following
+inscription: “Reigning in Spain Philip III., he erected this work in the
+year MDCVII.; Philip V. enlarged and repaired it, and destined it for
+the royal armoury in the year MDCCXXVIII.”</p>
+
+<p>Ferdinand VI. only constructed the offices above the baths of Doña Maria
+de Padilla, repairing the damage caused by the terrible earthquake of
+1755.</p>
+
+<p>The greater part of the halls on the upper story looking on the gardens
+perished in the dreadful fire of 1762; and the Government doubtless
+fearing the expense which would be incurred by a regular restoration in
+the original style, ordered all the roofs and ceilings destroyed by the
+fire to be repaired in the “modern manner.” The unhappy result of this
+order was to make the ceiling of many of the apartments much too low,
+and to scrape away many of the ancient arabesques from the walls. In the
+year 1805 the unhappy idea was conceived of changing the principal
+entrance, and of white-washing with hideous lime the magnificent stucco
+work in the Princes’ Hall, and of other ancient apartments. The
+unfortunate reformation even went so far as to substitute a plaster
+ceiling, which makes one shudder, for the beautiful Arab bowl-shaped
+one, and</p>
+
+<p><a name="plt_XXXIV" id="plt_XXXIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXIV.</p></div>
+<a href="images/ill_150_lg.jpg">
+<img src="images/ill_150_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Border of Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<p class="ills"><a name="ill_132" id="ill_132"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_151_lg.jpg">
+<img src="images/ill_151_sml.jpg" width="388" height="476" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;ENTRANCE TO THE SLEEPING SALOON OF THE MOORISH KINGS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_133" id="ill_133"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_152_lg.jpg">
+<img src="images/ill_152_sml.jpg" width="364" height="474" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;DORMITORY OF THE KINGS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span>&nbsp; </p>
+
+<p class="nind">to put modern windows in the hall over the principal façade, called the
+Hall of the Princes, near the Court of the Dolls; and also to spoil the
+ceiling of the Hall of Ambassadors with heavy beams and supports, quite
+ruining the beauty of this enamelled half-orange. One is curious to know
+who it was who first tried to repair in a measure the harm done by these
+so-called “restorations.” In 1833 a rational restoration of the Court of
+the Dolls, and of the hall near it to the north, was begun with laudible
+zeal by the Don Joaquin Cortes, professor of painting, and the
+intelligent overseer, Antonio Raso, and the official, Manuel Cortes. The
+real work of restoration commenced about the year 1842, thanks to the
+praiseworthy efforts of Don Domingo de Alcega, administrator of the
+royal patrimony, and to those who helped him in his difficult task, the
+distinguished artist, Don Joaquin Dominguez Becquer, and the master
+artificer, José Gutierrez y Lopez. Señor Becquer designed the Arab
+cornice which to-day decorates the outer part of the edifice defining
+the dome of the Hall of Ambassadors, which had been half destroyed in
+1805, and he never ceased to devote his genius to the restoration, now
+in part and again general, of the most precious monument of Moorish art
+of the fourteenth century. During the years 1852 and 1853 the alcalde of
+the royal palaces completed the work of replacing some of the stucco
+ornaments in various apartments. Afterwards the vice-alcalde, Don Alonso
+Nuñez de Prado, assisted by Señor Becquer, brought a complete
+restoration to a successful end, which, though it may not be faultless
+in the eyes of a modern critic, is still worthy of praise, considering
+the period in which it was undertaken. In 1855 the administrator of the
+alcazar invited the Queen, Doña Isabella II., to interest herself in the
+works, with the result that he was able to<span class="pagenum"><a name="page_336" id="page_336">{336}</a></span> cover the Court of the Dolls
+with glass, and to re-build the thirty-six arches of the Court of the
+Damsels.</p>
+
+<p>There is no inscription in the alcazar which offers a real historical or
+literary interest to the archæologist. One does not find here the
+fragments of poems on the walls which in the Alhambra rest the eye and
+speak to the intelligence in praising the heroic deeds of warriors and
+the beauties of the sumptuous habitations. In the alcazar one reads the
+Koran with its repeated salutations and some praises of Don Pedro, in
+which the praises of the Mohammedan sultans have been suppressed, also
+the word, Islamism; but we must draw attention to the fact that the
+greater number of the inscriptions are the same as those employed in the
+alcazar of Granada, repeated a thousand times, and it would be tedious
+and tiresome to accompany the artistic description with the same verse,
+repeated a hundred times, which is to be found in the different
+apartments, and interrupted a hundred times also by others put in at the
+time of the restorations. As the persons who were charged with the work
+of restoring the inscriptions did not know the ancient language, they
+very often placed the inscriptions upside down.</p>
+
+<p>On the façade, and over the principal entrance of the alcazar, around
+the twin windows, one reads the well-known verses: “Glory to our Lord
+the Sultan;” “Eternal Glory for Allah, the perpetual empire for Allah;”
+“Lasting happiness;” “Benediction;” “The kingdom of God, the power of
+God, glory to God;” “Happiness and peace, and the glory and generosity
+of perpetual felicity;” “In prosperous fortune this palace is the only
+one.” The inscription, “There is no conqueror but God,” placed above and
+below the wide frieze of painted porcelain, in cufic characters, in our
+opinion, must be the work of an artist from Granada.<span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<p class="ills"><a name="ill_134" id="ill_134"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_153_lg.jpg">
+<img src="images/ill_153_sml.jpg" width="361" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;THE DORMITORY.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_135" id="ill_135"></a></p>
+
+<p class="ills"><a name="ill_136" id="ill_136"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>SEVILLE</p></div>
+<a href="images/ill_154_lg.jpg">
+<img src="images/ill_154_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>ALCAZAR.<br />
+FRONT OF THE SLEEPING SALOON OF THE MOORISH KINGS.</p></td>
+
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>ALCAZAR.<br />
+SLEEPING SALOON OF THE MOORISH KINGS.</p>
+</td></tr>
+</table>
+
+</div></div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span>&nbsp; </p>
+
+<p>Then comes the vestibule, where one sees almost the same inscriptions.
+The African characters are changed into cufic, or neskis. These are what
+are in the frieze:</p>
+
+<p>“Happiness and prosperity are the benefits of God;” and after: “Glory to
+our Lord the Sultan Don Pedro, may his victories be magnificent.”</p>
+
+<p>In the Court of the Damsels we find very much the same thing: “Praise to
+God, on account of His benefits.”</p>
+
+<p>It must be remarked that, in all the inscriptions mentioned above, the
+word “Islamism” has been suppressed, which proves that the artists were
+the same Arabs who, under the Christian dominion, took advantage of the
+traditional formulas in effacing the religious part of the verse.</p>
+
+<p>On a frieze of the same court:</p>
+
+<p>“Glory to our Sultan Don Pedro, may God lend him His aid and make him
+victorious,” &amp;c., &amp;c.</p>
+
+<p>Then follow a number of inscriptions of no importance, where one sees
+repeated: “Happiness, Praise, Grandeur; God is Unique, the Fulfilment of
+Hopes;” and this one, more worthy of notice, “God is Unique, He does not
+Beget, He was not Begotten, He has no Companion.” This inscription is
+also found at Granada on the Charcoal Gateway, in cufic characters, and
+it proves that it could not have been constructed under the Christian
+dominion, because it is completely contrary to the religion of Christ;
+and, consequently, that Don Pedro profited by the work of Yusuf as much
+as was possible. Amador do los Rios, the well-known <i>savant</i>, supposes
+that artists were brought from Toledo to construct this alcazar; but
+this is not exact, they only did the repairs and restorations.</p>
+
+<p>On one of the doors, which like all the rest in this edifice has
+undergone many restorations, the most interest<span class="pagenum"><a name="page_342" id="page_342">{342}</a></span>ing legend is found: “The
+Sultan our Lord, the exalted, noble Don Pedro, King of Castile and of
+Leon&mdash;may God perpetuate his happiness&mdash;ordered Jalabi, his architect,
+to make the doors of worked wood for this magnificent portal of
+happiness; he ordered this in honour of the Ambassadors. Joy broke out
+for their construction and dazzling embellishment. The chiselings are
+the work of artists from Toledo, and it was done in the year of grace
+1404.</p>
+
+<p>“Similar to the twilight of the evening, and very similar to the light
+at dawn of day, this work is dazzling on account of its brilliant
+colours and the intensity of its splendours, from which abundance of
+felicity flows for the happy town where the palaces were built, and
+these habitations, which are for our Lord and Master, the only one who
+communicates life to his splendour, the pious Sultan, who is also
+severe, had it built in the town of Seville, with the aid of his
+intercessor, in honour of God.”</p>
+
+<p>One sees the same inscriptions repeated in the Hall of Ambassadors, and
+in the room to the left one reads:</p>
+
+<p>“Oh! entrance to the habitation newly dazzling and noble, Lord of
+protection, of magnificence, and of virtues.”</p>
+
+<p>In the Court of the Dolls, and round the entrance arch, one reads:</p>
+
+<p>“There is no protection if it is not Allah, in whom I trust, for I shall
+return to him.” “All that thou dost possess comes from God,” &amp;c., &amp;c.
+And in the same court (cufic): “Oh! incomparable Master, issue of a
+royal race, protect it.” “Praise God for His benefits.” “God, my
+Master.”</p>
+
+<p>In the sleeping apartment, called that of the Moorish kings, amongst
+other known inscriptions this one is found: “Oh! illustrious new
+dwelling, thy splendid happiness has progressively increased on account
+of the lasting brilliancy</p>
+
+<p><a name="plt_XXXV" id="plt_XXXV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXV.</p></div>
+<a href="images/ill_155_lg.jpg">
+<img src="images/ill_155_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornament in Panels on the Wall.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<p class="ills"><a name="ill_137" id="ill_137"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_156_lg.jpg">
+<img src="images/ill_156_sml.jpg" width="390" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;ROOM OF THE INFANTA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_138" id="ill_138"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_157_lg.jpg">
+<img src="images/ill_157_sml.jpg" width="375" height="476" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;COLUMNS WHERE DON FADRIQUE WAS MURDERED.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<p><a name="plt_XXXVI" id="plt_XXXVI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXVI.</p></div>
+<a href="images/ill_158_lg.jpg">
+<img src="images/ill_158_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Bands, Side of Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<p class="nind">of the greatest beauty. Thou wert chosen for the place where the feasts
+should be celebrated. He is the support and the rule for all good,
+source of benefits, and food of courage! For thee....”</p>
+
+<p>We left the story of Seville somewhat abruptly to deal in detail with
+the alcazar. Under Almohade rule, and while the alcazar and the mosque
+were in course of construction, the city knew peace, and its commerce
+flourished. But the days of its security were limited; the end of the
+Moslem domination in Seville was drawing to its close. The revived
+prosperity of the Mohammedans spurred the Christian Spaniards to renewed
+efforts to encompass the overthrow of the infidels. Pope Innocent III.
+declared a crusade, and numbers of adventurous French and English
+free-lances travelled to Spain in answer to the call. But in 1195 the
+Christians were defeated at Alarcos, near Badajoz, and again the
+ambitious projects of San Fernando were temporarily frustrated. In 1212
+the Almohade army, it is said to the number of 600,000 men, was almost
+destroyed on the disastrous field of Las Navas, and the work of the
+expulsion of the Moors from Spain was begun. City after city was
+captured by the soldiers of Fernando III., Cordova fell in 1235, and the
+conqueror, with the help of the King of Granada, who had sworn
+allegiance to the Christian monarch, marched against Seville.</p>
+
+<p>The army brought by the holy king to Seville was the most brilliant and
+numerous ever seen in Christian or Mohammedan Spain. No smaller force
+would have been sufficient for the taking of a city which contained
+12,000 Mussulman families divided into twenty-four tribes, and which had
+been in the hands of the followers of Islam for more than five
+centuries. In the spring of the year 1235 the army was moved from
+Cordova and divided into two<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span> parts, one under the command of the Prince
+of Molina and the Master of Santiago, which was to march to the Ajarafe;
+and the other under the direction of the King of Granada and the Master
+of Calatrava, which was to harass the country near Jerez. The attack on
+Seville and its territories commenced immediately, and a series of
+uninterrupted victories prefaced the happy termination which was to
+crown the constant and generous efforts of the Christian warriors.</p>
+
+<p>Seville, at this period the court and seat of the Islamite empire, was a
+city calculated to defy the strategy of the most skilful generals, the
+valour of the most devoted men at arms. In form it would resemble a
+shield, stretching from north-east to south-west. Its head and right
+side were formed by the walls with its towers, defended by a barbican
+and a moat, with eight gates and a narrow side entrance. These gates
+were veritable fortresses. They were defended by towers and bastions.
+Their exits were narrow, and never in front; the exterior passages to
+the city had angles and turnings, and very often the first turning
+opened into a square armed place, with narrow doorways at both sides.
+“The gates of Seville,” says Morgado, “were constructed of planks of
+iron, fastened on to strong hides with steel bolts. And because it was
+best defended on its west side by the river Guadalquivir, which
+protected more than half the city, with the six gates in that side, it
+was thought well to place the strongest walls and the best fortified
+towers, with as many barbicans, and the widest and deepest moats on the
+other side.”</p>
+
+<p>The left side of the shield boasted the majestic curve of the river, the
+arsenal, and another series of walls and gates; but at this part, there
+were no moats nor false entrances, because it had the strong towers of
+the Ajarafe opposite to defend it. There were four gates on this side,
+not counting<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<p class="ills"><a name="ill_139" id="ill_139"></a></p>
+
+<p class="ills"><a name="ill_140" id="ill_140"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>SEVILLE</p></div>
+<a href="images/ill_159_lg.jpg">
+<img src="images/ill_159_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>
+ALCAZAR.<br />
+GATE OF THE HALL OF SAN FERNANDO.
+</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p> ALCAZAR.
+<br />GALLERY OF THE HALL OF SAN FERNANDO.
+</p>
+</td></tr>
+</table>
+</div></div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_141" id="ill_141"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_160_lg.jpg">
+<img src="images/ill_160_sml.jpg" width="476" height="376" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;HALL IN WHICH KING SAN FERNANDO DIED.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<p><a name="plt_XXXVII" id="plt_XXXVII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXVII.</p></div>
+<a href="images/ill_161_lg.jpg">
+<img src="images/ill_161_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Bands. Side of Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<p class="nind">that of Bib-Ragel, which occupied the north angle of the city; and, in
+addition to these, it is believed there was a small postern, afterwards
+called the “atarazanas,” through which it is supposed that Axataf, or
+“Sakkáf” his Moorish name, went out to receive King Ferdinand, and to
+deliver up the keys of Seville. The old wharf of Saracen Seville came as
+far as this; and in all the space, which to-day is called El Barrio de
+los Humeros, or the Chimney Quarter, the Mohammedans had their arsenal
+and shipbuilding yard, while the sailors and fishermen of the
+Guadalquivir were also housed in this district. The Gate of the Triana
+must have been in the vicinity; and the Gate of Hercules was directly
+opposite the Ajarafe, which was also called the Garden of Hercules. With
+the gardens and orchards of the Macarena, which adorned it to the north,
+the plains and woods of Tablada, which supplied it with corn and wood to
+the east and south, with an abundant supply of fresh water brought from
+Carmona by the aqueduct, with the river which was its principal
+commercial artery to the west, with the castles on the opposite side of
+the Guadalquivir, protecting the river and its bridge, and occupying all
+the heights from Azalfarache nearly as far as Italica, Seville was one
+of the best situated, best supplied, best defended, and most prosperous
+cities of the Mussulman empire in Andalusia. To attack her she must be
+cut off from the Ajarafe, and her bridge of boats must be taken. It
+would have been useless to descend to Italica and be exposed to the
+assaults of the city and of Triana, as long as the bridge existed, and
+this task was thought to be beyond the power and ingenuity of any enemy.</p>
+
+<p>The bridge of boats, protected by a great wooden chain, linked by iron
+rings, kept the communication open between the city and the Ajarafe,
+that vast and fertile district from<span class="pagenum"><a name="page_354" id="page_354">{354}</a></span> which the Sevillians received all
+sorts of supplies, and where the Saracen magnates had their country
+villas. This delightful Garden of Hercules, in whose praise many Arab
+writers have exhausted the treasure of their rich and exalted
+imagination, has been described in the following manner by an anonymous
+poet, in some verses dedicated to the Abbadite Sultan Almutamed:
+“Seville is a young widow, her husband is Abbad, her diadem the
+Aljarafe, her collar the winding river.” Indeed, says the poet Ibn
+Saffar, “the Aljarafe surpasses in beauty and fertility all the lands of
+the world, the oil of its olives goes even to far Alexandria, its farms
+and orchards are superior to those of other countries on account of
+their extension and convenience; and, always white and pure, they seem
+to be so many stars in a sky of olive gardens.” Travelled Arab
+historians recall with pleasure the delights of Andalus; preferring
+Seville to either Baghdad or Cairo, saying: “The Aljarafe is a luxuriant
+wilderness without wild beasts, and its Guadalquivir is a Nile without
+crocodiles.” One of the authors, quoted by El-Makkari, gives the
+following exact description of the Aljarafe: “It is an immense district,
+measuring forty miles long, and almost as many broad, formed of pleasing
+hills of reddish earth, on which there are woods of olive and fig-trees,
+which offer a delicious shade to the traveller in the hours of the
+mid-day heat. This district contains a numerous population, scattered in
+beautiful farms or collected in villages, none of which are wanting for
+markets, clean baths, fine buildings, and other conveniences, such as
+are usually only to be found in cities of the first order.”</p>
+
+<p>This fertile territory, which the Saracens called the “Orchard of
+Hercules,” rose gradually to the west of Seville, after stretching along
+the right bank of the river.<span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<p class="ills"><a name="ill_142" id="ill_142"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_162_lg.jpg">
+<img src="images/ill_162_sml.jpg" width="365" height="473" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;ROOM OF THE PRINCE.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_143" id="ill_143"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_163_lg.jpg">
+<img src="images/ill_163_sml.jpg" width="360" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>ALCAZAR&mdash;VIEW OF THE GALLERY FROM THE SECOND FLOOR.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span>&nbsp; </p>
+
+<p>Its heights were covered with farmhouses and hamlets, as the Arab writer
+indicates, which formed, as it were, a continuous population, rich in
+provisions, from which Seville usually received abundant supplies of all
+necessaries. There were four principal villages: Aznalfarche (to-day,
+San Juan de Alfarache), Aznalcazar, Aznalcollar, and Solucar de Albayda,
+strong walled places, where the Mohammedans collected the revenues of
+the district. The fringe, formed by the heights of the Aljarafe, was
+given the name of “Mountain of Mercies” (Jebl arrahmah) by the
+Mohammedans, on account of its extraordinary fertility, a surprising
+abundance of figs, known as “Al-kuiti” and “Ash-shari,” being produced
+there.</p>
+
+<p>The Sevillians faced the Christian attack with boldness, bred of
+confidence, and a determination to strain every nerve, and exhaust every
+resource, in repelling the invaders. They were engaging upon their last
+throw for the sovereignty of Andalusia. Fernando’s warships encountered
+the Moorish fleet at the mouth of the Guadalquivir, and drove them from
+their position, and the infidels collected their forces to make a last
+stand on land. But their stubborn front was broken by the Christian
+host, and the war-worn remnant of the Moorish army prepared to withstand
+a siege. Even when the bridge of boats was destroyed, and all
+communications with the suburb of Triana and the surrounding country was
+cut off, the Moors still fought on within the city walls, and it was not
+until fifteen months had elapsed that Seville was starved into
+submission. On the 23rd February, 1235, Fernando entered the city, and
+Abdul Hassan, rejecting the king’s invitation to become a dependent
+officer of the Spanish Crown, retired with thousands of his vanquished
+Almohades to Africa.</p>
+
+<p>Fernando’s first act was to have the mosque purified<span class="pagenum"><a name="page_360" id="page_360">{360}</a></span> for the
+celebration of a high and imposing Mass; he took up his quarters in the
+alcazar; divided the Moorish possessions among his knights, and rested
+his army after their long and arduous campaign. Four years later he died
+of dropsy. He was succeeded by Alfonso X., who founded the University of
+Seville, devoted his leisure to the study of poetry, history, and
+ancient laws, and merited the title of “El Sabio,” “the Learned.” But
+although the beautiful alcazar appealed to the studious temperament of
+“El Sabio,” the fortress-palace is more closely associated with his son,
+Pedro I., Pedro, “the Cruel,” the most renowned of all the Christian
+sovereigns who ruled Andalusia from Seville.</p>
+
+<p>Pedro’s character has been made the study of many biographers and
+historians, and he has not been without his literary whitewashers, but
+the “incidents” which illuminate his career do not place him in a
+favourable light. His Bohemianism endeared him to the people, and a
+certain sense of justice, in cases in which his own interests were not
+concerned, has gained for him the title of “The Justiciary.” It may be
+that the plottings of Albuquerque, his father’s chancellor, and the
+perfidious behaviour of his relatives, including his own mother, served
+to warp and embitter his nature; but he had no sooner, at the
+instigation of his mistress, Maria de Padilla, taken up the reigns of
+government, than he revealed the cruelty and malignity of his character.
+Leonora de Guzmar, the mother of Alfonso’s illegitimate son, Enrique,
+was done to death in his prisons; Abu Said, the King of Granada, was
+seized by treachery, robbed, and executed; Urraca Osorio, for refusing
+Pedro’s addresses, was burned to death in the market-square of Seville;
+his wife, Blanche of Bourbon, was mysteriously murdered; Don Fadrique,
+his half-brother, was assassinated with Pedro’s dagger; and he himself
+was eventually defeated<span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<p class="ills"><a name="ill_144" id="ill_144"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_164_lg.jpg">
+<img src="images/ill_164_sml.jpg" width="354" height="476" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>TOWER OF THE GIRALDA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_145" id="ill_145"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_165_lg.jpg">
+<img src="images/ill_165_sml.jpg" width="352" height="498" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>DETAILS OF THE GIRALDA TOWER.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span>&nbsp; </p>
+
+<p class="nind">in battle by the troops of his brother Henry and Bertrand du Guesclin,
+and killed in single combat by Henry.</p>
+
+<p>Pedro wearied of his first wife, Blanche of Bourbon, in forty-eight
+hours; and, having had his marriage annulled, he espoused the handsome
+Juaña de Castro, only to desert her a few days later to return to his
+beautiful mistress, Maria de Padilla. This woman appears to have been
+the only person who inspired Pedro with more than a transitory passion,
+and the courtiers testified to the power she wielded by chivalrously
+drinking the waters of her bath in El Jardin del Crucero. But Pedro’s
+passion for his mistress, though lasting, was not monopolising, and his
+amours supply us with an incident which reveals at once the king’s
+ferocity, his humour, and his alleged respect for justice. It was his
+custom at night to muffle himself in a cloak and adventure alone into
+the city in quest of entertainment. On one of these excursions he
+encountered a hidalgo serenading a lady, whose favours he himself
+coveted. Cloaked by the dim light, and made secure by the emptiness of
+the street, the king fought and slew his rival, in defiance of his own
+order, which made street fighting punishable upon the officers of the
+city when they failed to bring the disturbers of the peace to justice.
+He had not bargained for the noise to disturb the rest of an old lady in
+the vicinity; he had not observed a venerable head protruding through an
+upper window. Believing the incident to be “wrapped in mystery,” he
+summoned the alcade of the city to his presence, acquainted him with the
+fact that the body of a hidalgo, pierced to the heart, had been found in
+the street, and gave him the option of discovering the murderer within
+forty-eight hours, or of being hanged in his stead. And hanged he
+doubtless would have been but for the timely confidence of the old lady
+who had witnessed the fight. The alcade<span class="pagenum"><a name="page_366" id="page_366">{366}</a></span> came again to the king with the
+news that the murderer had been found, and would be on view upon the
+gallows within the time specified by Pedro. Curious to see who had been
+secured to expiate his sin, or eager to fasten a new dereliction of duty
+upon the alcade, the king went to the place of execution and found,
+suspended from the gallows, an effigy of himself. “Good,” said the king,
+“justice has been done! I am satisfied.” There is a street in Seville
+which is called the Calle della Cabeza del Rey Don Pedro, to commemorate
+the duel; and the alley from which the old lady observed the issue is
+known as the Calle del Candilejo, “the street of the candlestick.”</p>
+
+<p>The alcazar extends along the river as far as the Golden Tower, built
+during the reign of Yusuf Almotacid Ben Nasir, by the Almohadan governor
+Abulala. The view of Seville, from the Christina promenade, the famous
+thoroughfare, which extends from the palace of the Duke of Montpensier
+to the Golden Tower, is a spectacle of which the Sevillians never tire,
+and visitors are never weary of praising. The tower itself, which took
+its present name either from the fact that it held the gold which the
+Spanish ships brought from America, or because Don Pedro secreted his
+treasures there, is octagonal in shape, with three receding floors,
+crowned with battlements, and washed by the Guadalquivir. The shimmering
+Torre del Oro, reflecting its light upon the broad bosom of the
+rose-coloured river beneath the setting sun, has inspired poets and
+painters of every age and nationality. George Borrow believes it
+probable that it derived its name from the fact that the beams of the
+setting sun focussed upon it makes it appear to be built of pure gold;
+and then, carried away by the loveliness of the picture, he cries:
+“Cold, cold must the heart be which can remain insensible to the
+beauties of this magic</p>
+
+<p><a name="plt_XXXVIII" id="plt_XXXVIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXVIII.</p></div>
+<a href="images/ill_166_lg.jpg">
+<img src="images/ill_166_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments on Panels.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
+
+<p class="ills"><a name="ill_146" id="ill_146"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_167_lg.jpg">
+<img src="images/ill_167_sml.jpg" width="476" height="353" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>COURT OF THE HOUSE OF PILATOS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_147" id="ill_147"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_168_lg.jpg">
+<img src="images/ill_168_sml.jpg" width="477" height="355" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>COURT OF THE HOUSE OF PILATOS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span>&nbsp; </p>
+
+<p class="nind">scene, to do justice to which the pencil of Claude himself were barely
+equal. Often have I shed tears of rapture whilst I beheld it, and
+listened to the thrush and the nightingale piping forth their melodious
+songs in the woods, and inhaled the breeze laden with the perfume of the
+thousand orange gardens of Seville.”</p>
+
+<p>Of the great mosque of Seville, which was built by Abu Yakub Yusuf in
+1171, and completed by the addition of the tower in 1196 by his son,
+only the barest traces now remain. It is impossible to determine who
+really designed the famous Tower, now called the Giralda; but historians
+favour the claims of the renowned architect, whose name is variously
+spelt Gever, Hever, or Djabir, and who is erroneously supposed to have
+been the inventor of algebra. In its original state this structure was
+an immense and stately pile, planned on the model of the mosque of
+Cordova, and decorated with lavish magnificence. In 1235 it was
+dedicated to the service of God and the Virgin, but it retained all its
+Moorish characteristics until 1401. The Moors would have destroyed the
+building and the beautiful Muezzin tower before it fell into the hands
+of San Fernando’s soldiers, and thus save their sacred temple from
+desecration by the “infidels,” but the king’s son, Alonso “el Sabio,”
+threatened to visit such spoliation upon the garrison by sacking the
+city. This threat had the desired effect, and for nearly two centuries
+the religious spirit of Seville found expression in a temple which had
+been built to the glory of Allah. But at the beginning of the fifteenth
+century the mosque was razed to the ground, and Seville cathedral began
+to take that huge and splendid form which, in the words of the pious
+originators, was to inspire succeeding generations with the idea that
+its designers were mad. It was to be the greatest cathedral in<span class="pagenum"><a name="page_372" id="page_372">{372}</a></span> Spain,
+and it ended in being second only to that of Cordova, but still the
+third largest Christian church in the world. Its area of 125,000 square
+feet is 35,000 square feet less than Cordova cathedral, and 105,000
+square feet less than St. Peter’s at Rome; but it is 15,000 square feet
+greater than that of Milan Cathedral, and greater by 41,000 square feet
+than St. Paul’s in London.</p>
+
+<p>The Moors, in building their mosque, employed the remains of ruined
+Roman and Gothic structures, and the Spaniards in 1401 used the Arab
+foundations in the construction of their cathedral, while the Moorish
+tower was preserved to do duty as a spire. In its original form the
+Giralda was only 250 feet high, the additional 100 feet which forms the
+belfry being added by Fernando Ruiz in 1567. In 1506 the cathedral was
+completed. Five years later the dome collapsed, and was re-erected by
+Juan Gil de Hontanon. Extensive restoration work was carried out in
+1882, under the superintendence of Cassova; but six years after this
+work was completed, the dome again gave way, and workmen have been
+constantly employed ever since in reconstructing this part of the vast
+building.</p>
+
+<p>According to Contreras, the Giralda is the most expressive monument of
+the Mohammedan dominion; and, despite all that has been said of its
+Moorish structure and primitive African style, it is in his opinion a
+perfect work of Arab art. The construction is anterior by four
+centuries, at least, to that of any tower of Granadian architecture such
+as that which to-day belongs to the Church of St. John of the Kings, but
+there is not the slightest difference in the manner of their
+ornamentation, and the rhomboids of painted bricks, the festoons of
+terra cotta, the windows with double arches, following the segments of a
+circle, present all the variety of the alcazar of Granada.</p>
+
+<p><a name="plt_XXXIX" id="plt_XXXIX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XXXIX.</p></div>
+<a href="images/ill_169_lg.jpg">
+<img src="images/ill_169_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments on Panels.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<p class="ills"><a name="ill_148" id="ill_148"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_170_lg.jpg">
+<img src="images/ill_170_sml.jpg" width="349" height="470" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>HOUSE OF PILATOS&mdash;VIEW IN THE COURT BY THE DOOR OF THE CHAPEL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_149" id="ill_149"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_171_lg.jpg">
+<img src="images/ill_171_sml.jpg" width="351" height="481" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>HOUSE OF PILATOS&mdash;CHAPEL.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span>&nbsp; </p>
+
+<p>“Here one sees plainly,” Contreras says, “the origin of the superposed
+arch of the belvedere of Lindaraja of the Alhambra, of the hanging arch
+of the three entrances of the Lions’ Court, of the festoons of the Court
+of the Fountain, and of all those forms, so delicate and so luxurious,
+that they are without equal in architecture. It is in the Giralda that
+one finds the beginning of truly decorative art. Built of varnished
+bricks, with a stout construction, as is demanded by the façade of a
+very high tower, it is to be regretted that such a beautiful edifice
+should be crowned by so strange a body as its gilded frontages and
+painted porcelains.”</p>
+
+<p>With the exception of the Giralda, and part of the lower portions of the
+walls, the Moorish remains that are to be recognised in the cathedral
+are few and not remarkable. The Puerta del Perdon in the Calle de
+Alemanes was reconstructed by Alfonso XI., after the victory of Salado,
+and the plateresque ornamentations were added by Bartolome Lopez about
+1522. But although the bronze-covered doors have been disfigured by
+paint, their Moorish character is still distinctly traceable. Through
+the gateway we enter the old Moorish courtyard, the Patio de los
+Naranjas (Court of Oranges), robbed of its former grandeur, but still
+distinguished by its beautiful Arabic fountain, with an octagonal basin,
+which occupies the centre of the court. From this spot we get a splendid
+view of the cathedral and the massive yet delicate Giralda tower, which
+has been declared to be even more to Seville than Giotto’s Campanile is
+to Florence, or that of St. Mark’s to Venice. “Long before the traveller
+reaches the city,” writes an imaginative admirer, “the Giralda seems to
+beckon him onwards to his promised land; during all his peregrinations
+through the intricate streets and lanes it is his trusted guide, always
+ready to serve him, soaring as it does far above all surroundings, it is
+a thing of unfailing<span class="pagenum"><a name="page_378" id="page_378">{378}</a></span> beauty and interest as day by day he passes and
+repasses it, or wanders about its precincts; it tells him even afar off,
+how the day moves on, and how the night; and it dwells in his thoughts
+the fairest memory of his sojournings in the queen of the Southern
+cities.”</p>
+
+<p>From the Court of Oranges to the Giralda the way leads through the
+Capilla de la Granada of the cathedral. A solitary horseshoe arch
+reminds us of the Moorish origin of the building; and the huge
+elephant’s tusk suspended from the roof, a bridle that tradition
+declares belonged to the Cid’s steed, and a stuffed crocodile, are
+Oriental rather than Christian relics. And the Giralda, in spite of its
+added belfry&mdash;its surmounting figure symbolic of the Christian
+faith&mdash;and the fact that it is under the special patronage of the two
+Santas Justa and Rufina, “who are much revered at Seville,” is still a
+Moorish monument. At its base the tower is a square of fifty feet, and
+it rises by a series of stages, or cuerpos, which are named after the
+architecture, decoration or use for which they are designed. At the
+Cuerpo de Campanas is hung a peal of bells, of which the largest, Santa
+Maria, eighteen tons in weight, and referred to in the vernacular as
+“the plump,” was set up in 1588 by the order of the Archbishop Don
+Gonzola de Mena, at a cost of ten thousand ducats. Above, we come to the
+cuerpo of the Azucenas, or white lilies, with which it is embellished;
+and, going still higher, we reach El Cuerpo del Reloj, the clock-tower,
+in which was erected, in 1400, the first tower-clock ever made in Spain.
+Portions of this old timepiece were employed by the Monk Jose Cordero in
+making, in 1765, the clock which is working to this day. The belfry,
+which is the home of a colony of pigeons and hawks, is girdled with a
+motto from the proverb, “Nomen Domini fortissima turris”&mdash;(“The name of
+the Lord is a strong tower.”) The<span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p>
+
+<p class="ills"><a name="ill_150" id="ill_150"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_172_lg.jpg">
+<img src="images/ill_172_sml.jpg" width="384" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>GALLERY OF THE HOUSE OF PILATOS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_151" id="ill_151"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_173_lg.jpg">
+<img src="images/ill_173_sml.jpg" width="477" height="380" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>GALLERY OF THE COURT OF THE HOUSE OF PILATOS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<p><a name="plt_XL" id="plt_XL"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XL.</p></div>
+<a href="images/ill_174_lg.jpg">
+<img src="images/ill_174_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments on Panels.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<p>Moorish summit was crowned with four brazen balls, so large that in
+order to get them into the building it was necessary to remove the
+keystone of a door called the Gate of the Muezzin, leading from the
+mosque to the interior of the tower. The iron bar, which supported the
+balls, weighed about ten cwt., and the whole was cast by a celebrated
+alchemist, a Sicilian, named Abu Leyth, at a cost of £50,000 sterling.
+These particulars were set down by a Mohammedan writer of the period,
+and their accuracy was proved in 1395 (157 years after the overthrow of
+the Arab dominion), when the earthquake threw the entire mechanism,
+balls and supports, to the ground, where they were weighed, and the
+figures were found to be absolutely correct. The figure of La Fé, “The
+Faith,” which now tops the Giralda, was cast by Bartolomé Morel in 1568.
+It stands fourteen feet high, and weighs twenty-five cwts., yet so
+wonderful is the workmanship that it turns with every breath of the
+wind. The head of the female figure is crowned with a Roman helmet, the
+right hand bears the Labaro, or banner, of Constantine, and in the left
+it holds out a palm branch, symbolical of conquest.</p>
+
+<p>But when we return from this “strange composite fane,” with its
+Christian summit surmounting a Moslem tower, which again has its
+foundations in a Roman temple, when we re-cross the Court of Oranges,
+with its Moorish fountain, flanked by a Christian pulpit, and enter the
+cathedral, the mind is transported at a bound from the fairy-like
+beauties of Morisco ornamentation to the sombre, awe-inspiring majesty,
+which prompted Theophile Gautier to the reflection that “the most
+extravagant and monstrously prodigious Hindoo pagodas are not to be
+mentioned in the same century as the Cathedral of Seville. It is a
+mountain scooped out, a valley turned topsy-turvy; Notre Dame, at<span class="pagenum"><a name="page_384" id="page_384">{384}</a></span>
+Paris, might walk erect in the middle nave, which is of frightful
+height; pillars as large round as towers, and which appear so slender
+that they make you shudder, rise out of the ground, or descend from the
+vaulted roof, like stalactites in a giant’s grotto.” Lomas, who finds
+the exterior of the cathedral “simply beneath criticism,” and deplores
+that “age after age a great band of glorifiers of self, through self’s
+handiwork, should have been employed in producing what they determined
+should be a world’s marvel,” is compelled to admit that “the first view
+of the interior is one of the supreme moments of a lifetime. The glory
+and majesty of it are almost terrible. No other building, surely, is so
+fortunate as this in what may be called its presence.” Even George
+Borrow, who thought more of his beloved testaments than of Spanish
+monuments erected to “the spiritual tyranny of the Court of Rome,” was
+feign to declare that it is impossible to wander through the cathedral
+of Seville “without experiencing sensations of sacred awe and deep
+astonishment”; and Caveda describes the general effect as “truly
+majestic.”</p>
+
+<p>The Italian rhapsodist, Edmondo de Amicis, who always succeeds in
+conveying a strikingly convincing impression of the spectacles that
+fascinate his sensitive mind, is at his best in his description of
+Seville cathedral. “At your first entrance,” he says, “you are
+bewildered, you feel as if you are wandering in an abyss, and for
+several moments you do nothing but glance around you in that immense
+space, almost as if to assure yourself that your eyes are not deceiving
+you, nor your fancy playing you some trick. Then you approach one of the
+pillars, measure it, and look at the more distant ones, which, though as
+large as towers, appear so slender that it makes you tremble to think
+that the building is resting upon them. You traverse them with</p>
+
+<p><a name="plt_XLI" id="plt_XLI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLI.</p></div>
+<a href="images/ill_175_lg.jpg">
+<img src="images/ill_175_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments on Panels.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p>
+
+<p class="ills"><a name="ill_152" id="ill_152"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_176_lg.jpg">
+<img src="images/ill_176_sml.jpg" width="479" height="344" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SEVILLE</p>
+
+<p>COURT OF THE PALACE OF MEDINA-CŒLI.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span>&nbsp; </p>
+
+<p class="nind">a glance from floor to ceiling, and it seems as if you could almost
+count the moments it would take for the eye to climb them. There are
+five aisles, each one of which might form a church. In the centre one,
+another cathedral, with its cupola and bell tower, could easily stand.
+All of them together form sixty-eight bold vaulted ceilings, which seem
+to expand and rise slowly as you look at them. Every thing is enormous
+in this cathedral. The principal chapel, placed in the centre of the
+great nave, and almost high enough to touch the ceiling, looks like a
+chapel built for giant priests, to whose knees the ordinary altars would
+not reach. The paschal candle seems like the mast of a ship, and the
+bronze candlestick which holds it, like the pillars of a church. The
+choir is a museum of sculpture and chiselling. The chapels are worthy of
+the church, for they contain the masterpieces of sixty-seven sculptors
+and thirty-eight painters.... The chapel of San Ferdinand, which
+contains the sepulchres of this king and his wife Beatrice, of Alonso
+the Wise, the celebrated minister, Florida Blanca, and other illustrious
+personages, is one of the richest and most beautiful of all. The body of
+Ferdinand, who redeemed Seville from the dominion of the Arabs, clothed
+in his uniform, with crown and mantle, rests in a crystal casket,
+covered with a veil. On one side, is his sword which he carried on the
+day of his entrance into Seville; on the other, a staff of cane, an
+emblem of command. In that same chapel is preserved a little ivory
+Virgin, which the holy king carried to war with him, and other relics of
+great value.” And here also, although De Amicis makes no mention of
+them, are the keys of Seville which Abdul Hassan handed to Ferdinand at
+the surrender of the city. One key is of silver, and bears the
+inscription, “May Allah grant that Islam may rule for ever in this
+city.” The other<span class="pagenum"><a name="page_388" id="page_388">{388}</a></span> key is made of iron gilt, and is of Mudejar
+workmanship. It is inscribed, “The King of Kings will open; the King of
+the Earth will enter.”</p>
+
+<p>In its churches and its old houses, Seville is rich in Moorish
+influences, and exhibits abundant traces of Morisco art, which prevailed
+against the material dominancy of the Christian conquerors. The
+reconciled Arabs who remained as subjects of Ferdinand became the chief
+of the most lavishly-remunerated artisans of the city. They pursued
+their craft in the dwellings of the rich; and in the churches of the
+“infidel.” Untrammelled by religion and uninspired by faith, they worked
+for art’s sake, and the substantial pecuniary award that sweetened their
+labours. The church of San Marco has a beautiful Moorish tower built in
+imitation of the Giralda, and second only to the minaret tower of the
+cathedral in point of height; San Gil is a Christianised Mezquita; Santa
+Catalina reveals the survival of Moorish art in its façade, while its
+principal chapel is Gothic. In nearly all the sacred edifices of
+antiquity the combination of Moorish and Renaissance architecture
+betrays an incongruity of style and sentiment which is only to be found
+among the Christian churches of Spain. And if the Catholic kings, who
+were sworn to the extirpation of the Moslems, allowed the Moors to build
+their churches in the style of temples devoted to Allah, it is not
+surprising that many of the finest private residences of the city retain
+a Moorish design, and possess a distinctly Oriental atmosphere.</p>
+
+<p>The Casa de Pilatos, which has been pronounced the fourth great monument
+of older Seville, was commenced in 1500 by Don Pedro Enriquez, in the
+then popular decadent Saracenic style, and was completed by his son,
+Fadrique, in imitation of Pilate’s palace at Jerusalem. In accordance
+with this scheme, he fashioned a reception-hall, called the</p>
+
+<p><a name="plt_XLII" id="plt_XLII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLII.</p></div>
+<a href="images/ill_177_lg.jpg">
+<img src="images/ill_177_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Frieze in the Upper Chamber, House of Sanchez.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<p>Prætorium, erected an upright column&mdash;a gift of Pope Pius V.&mdash;copied
+from the pillar at which Christ was scourged, and made a replica of the
+basin into which the thirty pieces of silver were counted. When the
+house came into the possession of the first Duke of Alcalá, he was
+acting as the Spanish viceroy at Naples, and he filled the rooms and
+corridors with Roman busts and statuary, gathered from Italy and the
+ruins of Italica. On every side the art treasures of the Romans adorn
+the perfect Moorish colonnades, and the shadows of Roman sculptures are
+thrown upon diapered marble pavements from light that enters through
+Arab lattices and ajimez windows. It has been described as a great
+curiosity shop, but to the art lover it is a treasure house of almost
+infinite beauty and variety.</p>
+
+<p>The Moorish palace of the Duke de Alba, in the Calle de las Dueñas, once
+consisted of eleven courtyards, nine fountains, and more than a hundred
+marble pillars, and was surrounded by a garden, which is a forest of
+orange trees and myrtles. In Seville one wanders through streets which
+are redolent of Arabia, and peep into countless Oriental patios, cool
+with fountains, and shaded by palms and Eastern canopies. One “feels the
+East a-calling”&mdash;the colour, the scent, the witchery of it gets into
+one’s blood&mdash;and one recognises the truth that inspired the old Spanish
+saying: “To whom God loves He gives a house in Seville.<span class="pagenum"><a name="page_391" id="page_391">{391}</a></span><span class="pagenum"><a name="page_390" id="page_390">{390}</a></span>”</p>
+
+<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span>&nbsp; </p>
+
+<h2><a name="TOLEDO" id="TOLEDO"></a>TOLEDO</h2>
+
+<p class="nind"><span class="letra">T</span>OLEDAN history proper, as distinguished from the mixture of fable and
+tradition which are associated with the story of this ancient and royal
+city, dates from the invasion of the Goths. Toledo was old when Euric
+successfully scaled its seven rocks and stormed its battlements&mdash;how
+old, cannot be determined. Legend claims that the town was in existence
+when God made the sun; less exalted imagination dates its foundation no
+further back than the days of Tubal, the grandson of Noah. Alphonsus,
+“the Learned,” and Diego Mossem Valera, the historian of Isabel the
+Catholic, agree that it was built by Pyrrhus, the son-in-law of King
+Hispan, and a captain of the army of Cyrus. Hercules has been claimed as
+the father of Toledo by Rufo Festo Avieno, and Ferecio, one of the
+companions of Ulysses, is held by some to have retreated to this spot to
+escape the blood-vengeance of that little band of Greek adventurers.
+Other legends declare the city to be of Jewish origin; and its builders,
+the Judians, who fled from Jerusalem before the victorious hosts of
+Nebuchadnezzar. Don Rodrigo Jimenez de Rada discovers the founders of
+Toledo in Tolemon and Brutus, two Roman consuls in the reign of Ptolemy
+Evergetes, and more reasonable supposition favours the theory that it
+was first settled by nomadic Celtic shepherds, who forsook their flocks
+to erect walls and fortifications on the rocky eminence above the Tagus.
+The little that is known of the origin and beginning of Toledo;<span class="pagenum"><a name="page_394" id="page_394">{394}</a></span> the
+very mystery and obscurity of its earliest days, is accepted by the old
+historian, Alcocer, as a proof of its antiquity and nobility. Rais, the
+Moorish writer, says that Tago, at Toledo, was one of the eleven
+governors of Carpetania. Tago was foully murdered by Hasdrubal, the
+successor of Hamilcar, and the assassination of Hasdrubal was followed
+by so determined an insurrection that even Hannibal was forced to
+retreat before the infuriated Carpetanians. But Hannibal retreated, only
+to return with a reinforced army, and break Carpetania beneath the might
+of Carthagenian rule. In 191 <small>B.C.</small>, after the fall of Carthage, Hilermo
+surrendered Toledo to the Roman forces, under Marcus Fulvius Nobilior.
+But Toledo held itself sullenly and haughtily aloof from the affairs of
+Rome. Viriate and Caius Plancius might cut each other’s throats on the
+banks of the Tagus; Sertorius might nurse his hates within the city;
+Cæsar and Pompey might be locked in a death struggle&mdash;those things
+mattered nothing to the contemptuous and independent Toledans. The Goth
+was the first real conqueror of Toledo; and the city, outwearing the
+scars of Rome, and throwing off the marks of the Moors, is, to-day, as
+insistently Gothic as Cordova and Seville are unmistakably Moorish.</p>
+
+<p>One sees Toledo from the distance, from the bridges, and from the heart
+of the city, and recognises that it is as it has always been&mdash;that it
+will go down into the tomb of the centuries unchanged. It grew “out of
+the night of ages”&mdash;its rocky throne has defied the ravages of time and
+the transforming ingenuity of man. Maurice Barrès, who has felt the
+majesty and melancholy of this gaunt monument of mediævalism, writes:
+“The landscape of Toledo, and the banks of the Tagus, are amongst the
+saddest and most ardent things of this world. Whoever lives here has</p>
+
+<p><a name="plt_XLIII" id="plt_XLIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLIII.</p></div>
+<a href="images/ill_178_lg.jpg">
+<img src="images/ill_178_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Cornice at Springing of Arches in a Window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p>
+
+<p class="ills"><a name="ill_153" id="ill_153"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_179_lg.jpg">
+<img src="images/ill_179_sml.jpg" width="480" height="346" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>TOLEDO</p>
+
+<p>SANTA MARIA LA BLANCA&mdash;INTERIOR, 1100-1156.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<p><a name="plt_XLIV" id="plt_XLIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLIV.</p></div>
+<a href="images/ill_180_lg.jpg">
+<img src="images/ill_180_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Panels on Walls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<p class="nind">no need to consider the grave youth, the ‘Penseroso,’ of the Medicis
+Chapel; he may also do without the biography and the ‘Pensées’ of Blaise
+Pascal. With the very sentiment realised by these great solitary works
+he will be filled, if he but give himself up to the tragic fierceness of
+the magnificences in ruins upon these high rocks. Toledo, on its
+hillside, with the tiny half circle of the Tagus at its feet, has the
+colour, the roughness, the haughty poverty of the sierra on which it is
+built, and whose strong articulations from the very first produce an
+impression of energy and passion. It is less a town, a noisy affair
+yielding to the commodities of life, than a significant spot for the
+soul. Beneath a crude illumination, which gives to each line of its
+ruins a vigour, a clearness, by which the least energetic characters
+acquire backbone, at the same time it is mysterious, with its cathedral
+springing towards the sky, its alcazars and palaces, that only take
+sight from their invisible patios. Thus, secret and inflexible, in this
+harsh, overheated land, Toledo appears like an image of exaltation in
+solitude, a cry in the desert.”</p>
+
+<p>Grim, austere, and forbidding is the general type of the Gothic
+character; the history of their kings in Spain is a long story of
+menace, bloodshed, and persecution; and that history covers Toledo as
+with a suit of battered mail. Christianity without the practice of the
+Christian virtues, valour divorced from mercy, power disjoined from
+justice&mdash;the religion, the might and majesty of the Gothic sovereigns,
+is a record of gloomy and revengeful despotism. Hermengildo, the Gothic
+saint, used his religion as an excuse for attempting to wrest the throne
+of Toledo from his father, Leovigildo, whom he denounced as a minister
+of the devil; Recaredo, who has been painted by historians as a model of
+all the Christian virtues, practiced a rigorous system of<span class="pagenum"><a name="page_398" id="page_398">{398}</a></span> cruelty and
+vindictive bigotry; and his successors were notorious for their queer
+morality, and their persecution of the Jews. Yet San Ildephonso, the
+most famous archbishop of Toledo under the Goths, has enriched the
+history of Spain with many splendid fables of heavenly manifestations;
+and the piece he cut from the veil of a visiting saint, and the
+chasuble, with which the Virgin invested him with her own hands, are
+still displayed among the treasures of Toledo cathedral. The figures of
+Wamba and Rodrigo&mdash;the warrior king who was offered the alternative of
+the crown of Toledo, or the thrust of a Toledan dagger, and “the Last of
+the Goths”&mdash;stand out with dominating prominence on the stage of Gothic
+history, on which warriors and priests are the principal actors.</p>
+
+<p>The doctrine of the Gothic priesthood has been described as the
+“hardest, meanest, and brutallest imaginable,” and the Gothic warriors
+as men who were never other than savage tyrants, who “aped a culture
+which they could not understand, and with whose aims and tendencies
+their inmost character was powerless to sympathise.” These are the
+people who gave Toledo its character, a character which the art-adoring
+Arabs were unable to change or even to greatly modify. It is so
+important to understand the influence which was at work in the creation
+of the Toledan character, the atmosphere in which it was reared, and the
+discipline under which it developed, that I make no excuse for quoting
+the following illuminating appreciation of the Gothic nature from Mr.
+Leonard Williams’ chapter on Toledo: “Originally barbaric in their
+ferocity, the Goths became as their domination approached its inevitable
+end, barbaric in their effeminacy. So, too, with their religious
+beliefs. Excepting the clergy, who were men of some education and
+unlimited unscrupulousness,</p>
+
+<p><a name="plt_XLV" id="plt_XLV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLV.</p></div>
+<a href="images/ill_181_lg.jpg">
+<img src="images/ill_181_sml.jpg" width="571" height="301" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td><p>
+From one of the centre arches.
+</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>
+From the entrance to the Divan.
+</p>
+</td></tr>
+
+<tr><td class="c" colspan="3"><p>Spandrils of Arches.</p></td></tr>
+</table>
+
+</div></div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<p class="ills"><a name="ill_154" id="ill_154"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_182_lg.jpg">
+<img src="images/ill_182_sml.jpg" width="396" height="477" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>TOLEDO</p>
+
+<p>THE GATE OF BLOOD.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span>&nbsp; </p>
+
+<p class="nind">the Christian Visigoth was every whit as barbaric as the heathen;
+barbaric, either in his violent fanaticism, or else in his total lack of
+individuality, and idiotic acquiesence in the schemes of a designing
+priesthood. An intermediate type was wholly, or almost wholly, wanting,
+and there is little to choose between Leovigildo, the ignorant and cruel
+desperado, and his meek successor, Recaredo, the unresisting prey of the
+ambitious metropolitan of Toledo.... The morals of the Visigoths were on
+a par with their refinement and their mode of living. Serfdom was the
+distinguishing mark of the commons; arrogance of the nobility; avarice
+and ambition of temporal power of the clergy; regicide and tumult of the
+Crown. It is clear that a people, disunited in this manner, could never
+have exercised a long supremacy in any case; and destiny, or chance,
+precipitated their downfall by the arrival of the one-eyed Tarik and his
+host, and the defeat of ‘the Last of the Goths,’ beside the
+memory-haunted osiers of the Guadalete.”</p>
+
+<p>Arrogance, avarice, ambition, regicide, tumult&mdash;here we have the
+distinguishing qualities of the nobles, the priests, and the kings of
+Toledo under the Gothic rule. The sovereigns and the nobles stamped
+their personality upon the city, and were themselves moulded and
+dominated by the priests. The priestly influence in Spain has ever been
+for austerity and heartless magnificence; it has ever sought to impress
+by fear and superstition. In the time of the Goths, Christianity
+developed through the increasing power of the bishops. The Church was
+terrible and forbidding; the nobility was arrogant and cruel; the
+monarchy was tyrannical and despotic. Hallam dismisses the consideration
+of the Visigoths in a sentence: “I hold,” he says, “the annals of
+barbarians so unworthy of remembrance that I will not detain the reader
+by naming one sovereign of that<span class="pagenum"><a name="page_402" id="page_402">{402}</a></span> obscure race.” But, under those
+sovereigns, and by the hands of that obscure race, Toledo was
+established upon its rocky eminence, and it bears its character on its
+face to-day, as it did in the opening quarter of the eighth century,
+when the one-eyed Tarik entered its melancholy, deserted streets.</p>
+
+<p>The plunder that fell to the Moorish invader is variously reported, but
+all accounts are agreed that it was beyond calculation. According to the
+learned Mohammedan author, Al-leyth Ibn Said, the spoils were so
+abundant that the rank and file of the army all shared in the rewards,
+and it was a common thing for the humblest bowmen to be possessed of
+costly robes, magnificent gold chains of exquisite workmanship, and
+strings of matchless pearls, rubies, and emeralds. So great, in many
+instances, was the greed for plunder, and so grossly ignorant were the
+Berbers of the value of the spoil, that whenever a party of them
+happened upon a rich fabric, they did not hesitate to cut it up between
+them, without regard to its worth or workmanship. It is recorded that
+two Berbers secured a superb carpet, composed of the most splendid
+embroidery, interwoven with gold, and ornamented with filigree work of
+the purest gold, with pearls and other gems. The men carried it for
+awhile between them, but, finding this method of conveyance cumbersome,
+they carved the gem-encrusted fabric in twain with their swords. In this
+fashion, masterpieces of art were heedlessly destroyed for the sake of
+the raw material of which they were composed.</p>
+
+<p>Among the precious objects seized in the palace and church of Toledo
+were twenty-five golden and jewelled crowns&mdash;the crowns of the different
+Gothic kings who had reigned in Spain&mdash;the psalms of David, written upon
+gold leaf in water made of dissolved rubies, vases filled with precious
+stones, quantities of robes of cloth of gold and</p>
+
+<p><a name="plt_XLVI" id="plt_XLVI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLVI.</p></div>
+<a href="images/ill_183_lg.jpg">
+<img src="images/ill_183_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Spandrils of Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<p class="nind">tissue, tunics of every variety of costly skirts and satins, magnificent
+suits of chain armour and mail inlaid with jewels, and jewel-studded
+swords and daggers, weapons of every description, and Solomon’s emerald
+table, wrought in burnished silver and gold. “This table,” says the
+Arabian chronicler, “was the most beautiful thing ever seen, with its
+golden vases and plates of a precious green stone, and three collars of
+rubies, emeralds, and pearls.” Other Arabian historians have claimed
+that it was composed of a solid emerald, and they are practically agreed
+that it was brought to Toledo after the sacking of Jerusalem, and that
+it was valued in Damascus at a hundred thousand dinars&mdash;about £50,000.
+Washington Irving, who invariably goes the whole hog when dealing with
+legendary history, says that this “inestimable table” was composed “of
+one single and entire emerald, and possessed talismanic powers; for
+tradition affirms that it was the work of genii, and had been wrought by
+them for King Solomon the Wise, the son of David. This marvellous relic
+was carefully preserved by Tarik, as the most precious of all his
+spoils, being intended by him as a present to the khalif; and, in
+commemoration of it, the city was called by the Arabs, Medina Almeyda;
+that is to say, ‘The City of the Table.’<span class="lftspc">”</span></p>
+
+<p>But the historian, Ibnu Hayyau, the greatly trusted authority of
+El-Makkari, gives, in the translation of Don Pascual de Gayangos, the
+following account of the origin of this article of virtue: “The
+celebrated table which Tarik found at Toledo, although attributed to
+Solomon, and named after him, never belonged to the poet-king. According
+to the barbarian authors, it was customary for the nobles and men in
+estimation of the Gothic Court, to bequeath a portion of their property
+to the Church. From the money so amassed the priests caused tables to be
+made of pure gold<span class="pagenum"><a name="page_404" id="page_404">{404}</a></span> and silver, gorgeous thrones and stands on which to
+carry the gospels in public processions, or to ornament the altars on
+great festivals. The so-called Solomon’s table was originally wrought
+with money derived from this source, and was subsequently emulously
+increased and embellished by successive kings of Toledo, the latest
+always anxious to surpass his predecessors in magnificence, until it
+became the most splendid and costly gem ever made for such a purpose.
+The fabric was of pure gold, set with the most precious pearls, rubies,
+and emeralds. Its circumference was encrusted with three rows of these
+valuable stones, and the whole table displayed jewels so large and
+refulgent that never did human eye behold anything comparable with
+it.... When the Moslems entered Toledo it was found on the great altar
+of the Christian church, and the fact of such a treasure having been
+discovered soon became public and notorious.”</p>
+
+<p>The history here assigned to the table is, it must be confessed,
+somewhat less improbable than the supposition of Gibbon, who is under
+the impression that if it ever existed it may have been carried away by
+Titus at the sacking of Jerusalem, and, later, to have fallen into the
+hands of the Goths at the taking of Rome by Alaric. Don Pascual,
+however, asks, very pertinently, whether it is likely that Bishop
+Sindered, and those who accompanied him in his flight, would have left
+behind them so valuable an object. And the conundrum still remains as to
+the present whereabouts of the table. It has been asserted that it forms
+part of the inestimable treasures of the Vatican, but as the devout
+Moslem would say, “Allah alone knoweth.”</p>
+
+<p>Tarik, who perceived in Musa’s haste to join him in Toledo and take
+possession of the spoils, an indication of the governor’s envy, decided
+to conceal one of the feet of<span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p>
+
+<p class="ills"><a name="ill_155" id="ill_155"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_184_lg.jpg">
+<img src="images/ill_184_sml.jpg" width="348" height="475" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>TOLEDO</p>
+
+<p>INTERIOR OF SANTA MARIA LA BLANCA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p>
+
+<p><a name="plt_XLVII" id="plt_XLVII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLVII.</p></div>
+<a href="images/ill_185_lg.jpg">
+<img src="images/ill_185_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Spandrils of Arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
+
+<p class="nind">the table against future emergencies. Musa, who met Tarik with savage
+upbraidings for exceeding his instructions&mdash;and some go so far as to say
+that he supplemented his speech with strokes of his whip&mdash;demanded the
+production of Solomon’s table, and questioned Tarik as to the absence of
+the missing fourth foot. The wily general declared that he had found it
+in that condition, and Musa had the missing emerald supplied by a foot
+of gold. Subsequently Musa had Tarik cast into prison, and, it is said,
+that he would have encompassed his death but for the prompt intervention
+of the khalif, who sent peremptory commands that the successful
+campaigner should be restored to his command of the Moorish army.
+Thereupon Musa professed to restore Tarik to his confidence and
+friendship; but he must have regretted that he had not executed his
+original purpose, when, on the occasion of his presenting the famous
+table as his own discovery to the khalif at Damascus, Tarik proclaimed
+himself to be the discoverer, and, as proof of his contention, produced
+the missing emerald foot.</p>
+
+<p>The Moorish conquerors recognised the importance of Toledo as the
+capital of the Gothic empire, but these art-adoring, sun-worshipping
+warriors, who found their Eden in Andalusia, lavished their affection
+and culture on Cordova and Seville, and, for a time, Toledo became a
+secondary town. Musa’s son, Abdelasis, or Balacin, as Rasis el Moro
+calls him, married the widow of King Roderick, who has been variously
+styled Egilona, Exilona, and Blanche, and insisted upon every noble of
+the Moorish Court paying her extravagant homage; but the sultan held his
+Court at Cordova, and the Toledans never forgave this affront to their
+honour and dignity. They brooded in their stormy sullenness and
+independence. Their revolutionary instincts were never crushed; their
+discontent was<span class="pagenum"><a name="page_408" id="page_408">{408}</a></span> never appeased through the three and a-half centuries of
+the Arab occupation of the city. Cassin, the Moorish ruler, became
+impregnated with the principles of independence, and threw off the yoke
+of Cordova, only to be betrayed in his turn by the Toledans, who,
+wearied of his tyranny, welcomed Abd-er-Rahman to the city, and
+submitted their allegiance to his throne. But throughout his reign the
+turbulent Toledans proved uncertain and prone to revolution, and his
+son, Hakam, who succeeded him, sought to conciliate them by appointing
+as governor a renegade Christian, one Amron, of Huesca. “By a
+condescension which proves our extreme solicitude for your interests,”
+the sultan wrote to his disaffected subjects, “instead of sending you
+one of our own subjects, we have chosen one of your compatriots.”
+Hakam’s error of judgment resulted in one of the most terrible deeds in
+the history of Toledo, perhaps the most disgraceful blot on the Moslem
+domination of Spain. Amron was entrusted with the mission of humbling
+his fellow countrymen to the rule of the sultan, and he achieved his
+object by the practice of a fiendish policy of perfidious cunning.</p>
+
+<p>By affecting an aversion to the sultan, and preaching the gospel of the
+independence of Toledo, he won the confidence of the nobles, and
+concerted with them in plots to reconquer the city. In furtherance of
+their plans, the people consented to have soldiers quartered upon them;
+they welcomed the building of a fortress commanded by a strong guard at
+the extremity of the city; and it was at their own suggestion that a
+castle was erected in the middle of the town as a stronghold for the
+valiant governor. Then, having fortified himself with the trust of the
+people, and packed the city with troops, Amron secretly advised the
+sultan that the Toledans were ready for the lesson that was<span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<p class="ills"><a name="ill_156" id="ill_156"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_186_lg.jpg">
+<img src="images/ill_186_sml.jpg" width="384" height="472" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>TOLEDO</p>
+
+<p>GATE OF THE SUN.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span>&nbsp; </p>
+
+<p class="nind">to be read to them. Abd-er-Rahman, the son of Hakam, advanced towards
+the city at the head of a great army. The governor proposed that the
+nobles should go out to meet the young prince, and historians record
+that these implacable Gothic revolutionists were infatuated by the
+courtesy and cordiality with which they were received. The future sultan
+conquered their aversion by his grace and charm, and they loudly
+applauded Amron’s suggestion that he should be invited to accept the
+hospitality of the city. Abd-er-Rahman, instated in the castle of the
+governor, invited the nobles and representative men of Toledo to a great
+feast. They came in crowds, they were admitted to the castle singly, and
+not a single invited guest returned to his home. As each man crossed the
+courtyard of the castle he walked past an executioner, who stood in the
+shadow with uplifted blade awaiting his approach. No guest passed him.
+The nobles entered, the blade fell, and ready hands rolled the body into
+a ditch. In Spanish history that bloody day is known as the “Day of the
+Foss.”</p>
+
+<p>“Only conceive,” writes Hannah Lynch, “the horrible picture in all its
+brutal nakedness! The gaily-apparelled guest, scented, jewelled,
+smiling, alights from his carriage, looking forward to pleasure in
+varied forms, brilliant lights, delicate viands, exquisite wines, lute,
+song, flowers, sparkling speech. Then the quick entrance into a dim
+courtyard, a step forward, perhaps in the act of unclasping a silken
+mantle, the soundless movement of a fatal arm in the shadowy silence,
+the invisible executioner’s form probably hidden by a profusion of tall
+plants or an Oriental bush, and body after body, head upon head, roll
+into the common grave till the ditch is filled with nigh upon five
+thousand corpses. Not even the famous St. Bartholomew can compete with
+this, in horror, in gruesomeness. Compared<span class="pagenum"><a name="page_412" id="page_412">{412}</a></span> with it, that night of Paris
+was honourable and open warfare. It is the stillness of the hour, the
+quickness of doing, the unflinching and awful personality of the
+executioners, who so remarkably struck down life as ever it advanced
+with smiling lips and brightly-glancing eye, that lend this scene its
+matchless colours of cruelty and savagery. Beside it, few shocking hours
+in history will seem deprived of all sense of mitigation and humanity.”</p>
+
+<p>Only a people rebellious by blood, by training, and by every tradition
+of their implacable race, could have thrown off the prostration that
+followed this terrible blow, and risen from their stupor with renewed
+determination to seize their independence. Yet Toledo survived this
+blow, and many others, which, if not so sudden and appalling, were
+sufficient to crush the spirit and deaden the aspiration of a more
+vincible nation. It is impossible to determine whether Abd-er-Rahman was
+an accessory to this deed of butchery, or to say if Amron planned the
+massacre in the belief that it was necessary to the maintenance of
+Moslem rule, to terrorise the Toledans into submission, or if the deed
+was inspired by the more subtle and diabolical intention of making the
+Moors more odious in the sight of the unmanageable citizens. When the
+people were sufficiently recovered from the horror of the atrocity to
+concoct a scheme of revenge, they acted with ferocious promptness. The
+cry for vengeance spread from the Zocodover into the surrounding
+country, and the people, hastily summoned into the city, surrounded the
+castle of Amron, and burnt the hateful fortress and its inmates to the
+ground. There, for the time, the insurrectionary movement stopped. An
+Arab governor was appointed, and the people, Christians and Jews as well
+as Moors, entered upon a new state of material prosperity. Under Aben
+Magot ben Ibraham the Moorish artistic influence<span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p>
+
+<p class="ills"><a name="ill_157" id="ill_157"></a></p>
+
+<p class="ills"><a name="ill_158" id="ill_158"></a></p>
+
+<div class="figcenter">
+<div class="caption"><p>TOLEDO</p></div>
+<a href="images/ill_187_lg.jpg">
+<img src="images/ill_187_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont">
+<tr valign="top"><td>
+<p>DOOR OF THE HALL OF MESA.
+</p></td>
+<td class="pdd">&nbsp; &nbsp; </td>
+<td><p>
+EXTERIOR OF THE CHAPEL OF CRISTO DE LA VEGA.
+</p>
+</td></tr>
+</table>
+
+</div></div>
+
+<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span>&nbsp; </p>
+
+<p class="nind">began to make itself felt. The architecture bore the imprint of the
+governing race, beautiful gardens were laid out along the Vega, Arabian
+palaces sprang into being, and on the ruins of Amron’s castle there was
+built a new alcazar.</p>
+
+<p>But the respite from open tumult was only temporary. The Wali, finding
+the merchants increasing in riches, raised their tribute to the state,
+and smouldering discontent was immediately fanned into a flame. Led by a
+wealthy young Toledan, named Hacam, who subsequently earned the affix of
+“El Durrete”&mdash;“The Striker of Blows”&mdash;the people murdered the Moorish
+officials and captured the alcazar. The Moslem troops retaliated by
+recapturing that stronghold and routing the revolutionists. Hacam went
+into retirement until the Moors, lulled into security, relaxed their
+vigilance in the guardianship of the city, and then, striking swiftly
+through the neglected gates, he recovered the city between sunset and
+morning. The greater part of the upper town was burnt, the troops sent
+by Abd-er-Rahman II. were repulsed; and, although the Toledans were
+incidentally routed by the renegade Spaniard, Maisara, Toledo was not
+then retaken. In 873 the city was besieged for a whole year, and only
+surrendered when famine had rendered the citizens too weak to further
+resist the assaults of the Moorish troops.</p>
+
+<p>The next firebrand to project itself into the inflammatory fabric of
+Toledan discontent was the fanatical martyr, Eulogius. In Cordova this
+frenzied religionist had fired the Christians into reviling Mohammed,
+and thereby exasperating the Moslems into persecution. To the tolerant
+and broad-minded Moors, religious observances were prejudices to be
+respected. They permitted, to Christians and Jews, the fullest licence
+in the matter of worship; they only demanded that a similar respect
+should be observed towards their own<span class="pagenum"><a name="page_416" id="page_416">{416}</a></span> faith. The Christians were not
+asked to reverence the Prophet of Islam, but the Moslems could not allow
+him to be openly blasphemed by the infidels. It was against the articles
+of their creed, and it was contrary to human nature. To-day the
+Christian who rebelled against such a reasonable restriction would be
+accounted a bigot, undeserving of sympathy; in the days of Eulogius, the
+revilers of Moorish religious prejudices were regarded as saints. Toledo
+jumped at their rulers’ resentment of the Christians’ wanton insult to
+their faith as an excuse for an outburst of religious indignation, and
+Sindola seized the city and declared war against the khalifate by way of
+protesting against the execution of Eulogius’s disciples. Ordoño, king
+of Leon, sent reinforcements to Sindola, and the allied armies were
+caught in an ambush by the Moors, who struck off 8,000 Christian heads
+for public exhibition in the various disaffected towns. This reverse had
+the desired effect, and the Toledans made no further move until the
+death of Wistremir afforded them an opportunity of exasperating the
+sultan Mohammed by electing Eulogius to the vacant archbishopric of
+Toledo. The sultan, who retaliated by investing the city, had the bridge
+undermined while it was in the occupation of his troops, and, by making
+a feigned retreat, enticed the impetuous Spaniards to give chase. The
+depleted structure collapsed beneath the sudden burden of the pursuing
+army, and hundreds of men met their death in the sullen depths of the
+Tagus.</p>
+
+<p>But neither massacre nor misfortune could shake the dogged Toledans from
+their purpose. With the king of Leon at their back, they put forth new
+efforts, and in 873 they forced Mohammed to acknowledge their
+independence as a Republic in return for the payment of an annual
+tribute. The treaty made with Mohammed was ratified by<span class="pagenum"><a name="page_417" id="page_417">{417}</a></span> his successors,
+Mundhir and Abdallah. Even the Great Khalif, Abd-er-Rahman, was at first
+content to send from Cordova a royal proclamation, commanding Toledo to
+surrender her independence to the khalifate, and acknowledge him as
+liege lord, and it was not until 930, or eighteen years after he had
+ascended the throne, that he went up with his army against the arrogant
+and rebellious city. The siege of Toledo by Abd-er-Rahman lasted for
+eight years. The Moorish king built the city, which he called “Victory,”
+on a mountain commanding Toledo, and here he quartered his troops until
+famine and privation should open the gates for him. The long years of
+waiting culminated in a swift assault, and, at the close of a day’s
+fighting, the emaciated heads of the insurgent chiefs were impaled on
+spears to keep their last sightless watch from the walls of the city
+they had defended with such heroic fortitude.</p>
+
+<p>After the death of the Great Khalif, and, thenceforth until the
+Christian conquest, Toledo maintained a partial independence, tolerating
+the rule of Moslem princes, but paying no allegiance to Cordova. And in
+the end she was recovered to the Christians by a piece of picturesque
+treachery. Alfonso of Leon (Alfonso VI.) had fled from the monastery of
+Sagahun, and sought the protection of King Almamon of Toledo, from whom
+he received the most generous hospitality, including gifts of palaces,
+farms, and orchards, and the government of the Christian section of the
+inhabitants. The Moorish king demanded only the subscription of his
+guest’s allegiance, and, in return, he gave a sincere affection, and
+promises of faithful protection. Almamon, whose one vague but ever
+present concern was the possibility of Toledo ever falling again into
+the hands of the Christians, was discussing the subject one day with his
+courtiers in the garden of Alfonso’s palace, and engrossed in<span class="pagenum"><a name="page_418" id="page_418">{418}</a></span> the
+consideration of the possible misfortune, he described minutely the only
+plan by which, in his opinion, the city might be taken. Alfonso, who was
+one of the company, affected to be asleep while this dissertation was in
+progress, and the courtiers, who were unable to restrain the eloquence
+of the king, endeavoured to obtain Almamon’s consent to the execution of
+his Christian guest. But the king refused to listen to this inhospitable
+proposition, and on the death of Sancho of Castile (who was murdered by
+Bellido, under the walls of Zamora), his brother, Alfonso of Leon,
+returned to his own kingdom, loaded with honours, and carrying with him
+the secret of Toledo’s vincibility. Before he departed the two kings
+swore eternal amity, and entered into an offensive and defensive
+alliance against the enemies of either, and the enemies of Almamon’s
+son, Yahya. But after the death of Almamon, Alfonso, forgetting his oath
+to his friend, and remembering only the plan of siege he had overheard
+in the garden of Toledo, adopted the principles invented by the Moorish
+theorist, and, in 1085, entered the city as its conqueror.</p>
+
+<p>What has Toledo to show to-day for the three and a-half centuries of the
+artistic influence of Morisco culture and influence? Surprisingly
+little! And yet it would be an even greater surprise if she had more to
+show. The village that climbs the bosom of a mountain does not alter the
+contour of its impassive resting-place; the etchings traced upon a
+Toledo blade does not affect the temper of the steel. The city is still
+“Moorish in appearance,” to employ the guide-book phrase, but it is
+gradually divesting itself of the marks which at one time, and then only
+in part, disguised its Gothic ancestry. Since Alfonso, the tyrant of the
+Galicians, seized the town of Toledo, “that pearl of the necklace, that
+highest tower of the empire in this Peninsula<span class="pagenum"><a name="page_419" id="page_419">{419}</a></span>”</p>
+
+<p class="ills"><a name="ill_159" id="ill_159"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_188a_lg.jpg">
+<img src="images/ill_188a_sml.jpg" width="293" height="228" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>TOLEDO</p>
+
+<p>ANCIENT GATE OF VISAGRA.</p></div>
+</div>
+
+<p class="ills"><a name="ill_160" id="ill_160"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_188b_lg.jpg">
+<img src="images/ill_188b_sml.jpg" width="294" height="231" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>CASTLE OF ST. SERVANDO.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span>&nbsp; </p>
+
+<p>(to quote Abon I Hasan), the Moorish bridge, near Santa Leocadia, and
+the other, which crossed the old Roman waterway, have disappeared, and
+the legendary Palace of Galiana is let out in miserable tenements to the
+lowest class of peasants.</p>
+
+<p>Moratin has immortalised Galiana de Toledo, “most beautiful and
+marvellous,” and Calderon has written of the palace built for her by her
+father, Galafre, who ruled over Toledo for Abd-er-Rahman I. Galafre took
+the old Visigoth shell, and transformed the edifice, by the witchery of
+Moorish windows and arches and staircases, into a palace of delight. He
+devoted his knowledge of hydraulics to the unkempt Toledan Vega, and
+made of it a paradise of leaf and bloom and rill. In the fairy garden,
+Charlemagne, according to tradition, found the “most beautiful and
+marvellous” Galiana, and carried her away from the unwelcome addresses
+of her Moorish admirer, Prince Bradamante, to reign over France as his
+queen. The arms of the Guzmans, into whose possession the palace passed
+under Castillian rule, may still be descried upon its dismantled front.</p>
+
+<p>The wonderful clepsydras, or water clocks of Toledo, the invention of
+Abou-l’-Casem, Abdo-er-Rahman, or Az-Zarcal, as he is more usually
+styled, are quaintly and vaguely described in the following Moorish
+document: “One of the greatest towns of Spain is Toledo, and Toledo is a
+large and well-populated city. On all sides it is washed by a splendid
+river, called the Tagus.... Among the rare and notable things of Toledo
+is that wheat may be kept more than seventy years without rotting, which
+is a great advantage, as all the land abounds in grain and seed of all
+kinds. But what is still more marvellous and surprising in Toledo, and
+what we believe no other inhabited town of all the world has anything to
+equal, are some clepsydras, or<span class="pagenum"><a name="page_422" id="page_422">{422}</a></span> water clocks. It is said that Az-Zarcal,
+hearing of a certain talisman, which is in the city of Arin, of Eastern
+India, and which, Masudi says, shows the hours by means of aspas, or
+hands, from the time the sun rises till it sets, determined to fabricate
+an artifice by means of which the people could know the hour of day or
+night, and calculate the day of the moon. He made two great ponds in a
+house on the bank of the Tagus, not far from the Gate of the Tanners,
+making them so that they should be filled with water or emptied
+according to the rise and fall of the moon.”</p>
+
+<p>In Babylonia, India, and Egypt, the clepsydra was used from before the
+dawn of history, especially in astronomical observations, and Latin and
+Greek writers refer to a type which resembled the modern sand glass, and
+was used in the courts of law to limit the length of the pleadings. The
+general form of the clepsydra, which Pliny ascribed to Scipio Nasica,
+consisted essentially of a float, which slowly rose by the tricklings of
+water from above through a small hole in a plate of metal. As the float
+rose it pointed to a scale of hours at the side of the water vessel; or,
+in the more elaborate forms, moved a wheel by means of a ratchet, and
+thus turned a hand on a dial.</p>
+
+<p>The Moorish recounter of the wonders of the water clocks of Toledo tells
+us that its movements were regulated by the moon. As soon as the moon
+became visible by means of invisible conducts, the water began to flow
+into the ponds, and, by day rise, the ponds were four-sevenths full. At
+night another seventh was added, so that by day or night the ponds
+continued to increase in water a seventh every twenty-four hours, and
+were quite full by the time the moon was full. On the 14th of the month,
+when the moon began to fall, the ponds also fell in like proportion. On
+the 21st of the month they were half empty, and on the 29th<span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<p class="ills"><a name="ill_161" id="ill_161"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_189_lg.jpg">
+<img src="images/ill_189_sml.jpg" width="326" height="478" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>MOORISH SWORD.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span>&nbsp; </p>
+
+<p class="nind">completely so. The exact working of those clepsydras, however, is lost,
+as a bungling astronomer, who was deputed by Alfonso “the Learned” to
+examine them and discover the secret, broke the delicate machinery, and
+was forthwith dubbed a Jew by the indignant and exasperated Moors.</p>
+
+<p>Beyond the walls of the city is a stretch of fertile land beside the
+Tagus, which is called the Garden of the King; and at the further end of
+it is the country palace of Galiana. This pleasure house is of a later
+date than the palace of the same name within the city; but, like that
+debased edifice, it is a ruin, its walls of extreme thickness, flanked
+with two massive towers, only remaining to represent what was once</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“A palace lifting to eternal summer<br /></span>
+<span class="i1">Its marble walls, from out a glossy bower<br /></span>
+<span class="i1">Of coolest foliage, musical with birds.”<br /></span>
+</div></div>
+</div>
+
+<p>In the War of Independence the French soldiers made a ruin of the
+one-time magnificent Casa de Vargas, which was built by Juan de Herrera,
+and has been described by Antonio Ponz as one of the architectural
+splendours of Toledo. Ponz tells us that “the façade is perfect Doric,
+of exquisite marble, with fluted columns on either side, and the
+pedestals have military emblems in bas-relief. The frieze consists of
+helmets, heads of bulls, and goblets. The coat of arms above the cornice
+is most beautiful, and the women’s forms, seated on each side, are
+life-size. Nothing could be finer than the details, as well as the whole
+of this façade, and for sure it is the most serious, the most lovely,
+and most finished of all I have seen in Toledo. You enter a spacious
+courtyard with lofty galleries running round it above and below the
+lower gallery, sustained by Doric pillars and by the upper Ionic
+columns. The staircase is truly regal, and likewise the various inner
+chambers. They<span class="pagenum"><a name="page_426" id="page_426">{426}</a></span> contain different chimney pieces, ornamented with
+graceful fancies executed in bas-relief; and thus, in the lower
+quarters, as in the principal, are other galleries with columns like
+those of the courtyard, with delicious views of the meadows and the
+Tagus.”</p>
+
+<p>In the most miserable quarter of the town, far up above the river, the
+visitor may see some huge blocks of stone, and a few broken arches&mdash;all
+that remains of the once magnificent Moorish palace of Henry of Aragon,
+lord of Villena. Henry of Aragon was an enlightened prince and erudite
+scholar, and the possessor of a superb collection of books, which were
+publicly burnt on the plea that their owner had intercourse with the
+devil. Don Enrique is said to have used the subterranean chambers and
+passages of the palace as a meeting-place for witches, and here he is
+supposed to have entertained his Satanic majesty. Samuel Levi, Pedro the
+Cruel’s treasurer, turned the palace vault into a strong-room, but the
+prince, in a needy moment, proved stronger; and the Toledans, following
+the example of their king, completed the sacking of the mansion. The
+Duke of Escalona, in the reign of Charles Quint, burnt the palace to the
+ground, and fled the city with his family, rather than give house-room
+to the treacherous Bourbon, the Constable of France, at the bidding of
+his royal master.</p>
+
+<p>There is in the little plaza of Santa Isabel, a half-obliterated Arabian
+inscription, wishing “Lasting prosperity and perpetual glory to the
+master of this edifice.” This inscription identifies the ruin as the
+palace of King Pedro. The beautiful Casa de Mesa bears scarcely a trace
+of the exquisite Moorish workmanship which characterised the palace of
+the Dukes of Alva; it is impossible to determine from the dilapidated
+Casa de las Tormerias whether it was originally built for a Moorish
+palace or a mezquita; while</p>
+
+<p><a name="plt_XLVIII" id="plt_XLVIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLVIII.</p></div>
+<a href="images/ill_190_lg.jpg">
+<img src="images/ill_190_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Plaster Ornaments, used as Upright and Horizontal Bands enclosing Panels
+on the Walls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
+
+<p class="nind">some few scraps of Moorish inscription in the wood-work of a ruined wall
+still testify to the origin of the Casa de Munarriz. The alcazar, which
+was twice destroyed by fire, is represented by the façades, the three
+towers, the patio, and the enormous staircase&mdash;perhaps the only parts of
+the building that were not rebuilt by Charles Quint. The edifice
+commenced by that monarch, and completed by Philip II., was for long the
+most splendid and colossal palace in Spain. Staremberg’s troops
+destroyed the building by fire in 1710; and, a century later, the French
+troops fired the structure which Carlos III. had recomposed out of the
+ashes of Charles V.’s alcazar. The Casa de Mesa, the palace of Estevan
+de Illan, is reduced to a single chamber of exquisite Moorish
+workmanship; the remaining Moorish part of the Taller del Moro is used
+as a common workshop; the regal staircase of the alcazar, so wide that a
+whole army might march up its noble steps, ends in space.</p>
+
+<p>As with the palaces of Toledo, so it is with its temples&mdash;the traces of
+Moorish art are nearly all defaced or obliterated. The mosque, which was
+replaced by the church of San Roman, possesses the purest mudejar
+steeple of Toledo, erected by Esteban de Illan, and another, if smaller,
+Moorish steeple, adorns the Santa Magdalena. A monument, which ranks
+among the most interesting in Spain, is the Cristo de la Luz, located
+between the Puerta del Sol and the Puerta Bisagra&mdash;a little gem of
+Moorish-Byzantine architecture, which is regarded as the oldest and most
+perfect specimen of its kind in the Peninsula. On the walls of this
+church, which remains to this day a perfect mosque, the conquering
+Alfonso VI. hung up his shield in 1035 to commemorate the first mass
+that was celebrated in Toledo after the defeat of the Moors. Until Tarik
+came to Toledo the mosque had been a Gothic temple, before which<span class="pagenum"><a name="page_428" id="page_428">{428}</a></span> hung a
+cross, bearing an effigy of the crucified Christ. Legend declares that
+two impious Jews pricked the greatly-venerated body with a dagger, and
+that from the wound blood instantly gushed forth. The Jews, who
+attempted to evade the penalty of their folly by hiding the crucifix,
+were traced by the stains of blood to their house, and torn to pieces by
+the infuriated Christians. Tradition further asserts that the Jews
+planned a revenge by poisoning the feet of the restored statue, but that
+when a woman knelt before it the figure withdrew its foot from her kiss.
+Many other legends attach to the sacred relic, which was removed from
+before the church when the city was captured by the Moors, and secreted
+in a cavity in the wall, with a burning lamp placed before it. When the
+Moorish dominion came to an end, 370 years later, and the cavity was
+revealed, the unreplenished lamp was found to be still alight before the
+crucifix in the wall of the Moorish mosque. From this legend the church
+takes its name of the Christ of the Light.</p>
+
+<p>This wonderful little monument, which is only twenty-two feet by
+twenty-five feet, possesses six short naves, which cross each other
+under nine vaults, and in the centre are four short, stout columns,
+surmounted by sculptured capitals, from which spring sixteen heavy
+horseshoe arches. This forest of naves and arches comprises a miniature
+reproduction of the mosque of Cordova. Arcades, cusped in Moorish
+fashion, and supported on shafts, pierce the walls; the inevitable “half
+orange” ceiling domes the centre, and above the principal arch is the
+shield of Alfonso VI., embellished with a white cross on a crimson
+ground, which the victorious king handed to Archbishop Bernardo to
+supply the place of a cross above the dismantled altar. This gem of
+Moorish-Byzantine architecture, so small yet so perfect,<span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p>
+
+<p class="ills"><a name="ill_162" id="ill_162"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_191_lg.jpg">
+<img src="images/ill_191_sml.jpg" width="327" height="558" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>ARAB FRAGMENT AT TARRAGONA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span>&nbsp; </p>
+
+<p class="nind">so simple yet so fantastic, conveys an impression of amazing strength,
+and presents an admirable example of early Arabian work.</p>
+
+<p>The nunnery of Santa Fe, which was originally a regal Moorish palace,
+has been shorn of nearly all its ancient beauty, which is now only
+traceable in the arcaded brickwork of the wall, almost obliterated by
+exuberant foliage. There are still the remnants of Moorish ornamentation
+in the convent halls and corridors of San Juan de la Penitencia, and the
+influence of Moorish art is also seen in some good azulejo and the
+artesonade ceiling of Santa Isabel.</p>
+
+<p>The Alcantara bridge, which was originally a Roman structure, was
+repaired by the Goths in 687, and rebuilt by the Moors of 866. It was of
+this Moorish bridge that Rasis el Moro wrote: “It was such a rich and
+marvellous work, and so subtly wrought, that never man with truth could
+believe there was any other such fine work in Spain.” Since then it has
+been repaired and restored wholly, or in part, no fewer than eight
+times; and while these alterations have changed its style and
+appearance, it still remains one of the finest and most picturesque
+monuments of Toledo. The bridge of San Martin, which compares with it in
+interest and beauty, was built in 1203, and is guarded at either end
+with a tower and gateway adorned with Moorish arches and battlements.
+The bridge of San Martin gives entrance to the city through the gate of
+the Cambron. It is no longer Moorish, as it was in the time of Alfonso
+VI.; but on its half-renaissance, half-classical architecture, one may
+still read the remains of some of those grandiloquent utterances of the
+Moorish spirit which prompted Ponz to style Toledo the city of
+magnificent inscriptions. It was a devout, if somewhat credulous, spirit
+which inspired the transcription of the following article of faith:
+“There is<span class="pagenum"><a name="page_432" id="page_432">{432}</a></span> but one God on earth, and Mohammed is His messenger. All the
+faithful who believe in our prophet Mohammed, and continue to kiss the
+hands and feet of Murabite Muley Abda Alcadar every day, will be without
+sin, will not be blind, nor deaf, nor lame, nor wounded; and receiving
+his benediction, when the time of his death comes, will only be three
+days ill and dying, will go with open eyes to Paradise forgiven of all
+sins.” Another inscription bore the following exhortation and
+compensatory promise: “Prayer and peace over our lord and prophet
+Mohammed. All the faithful, when they went to lie down in their beds,
+mentioning the Alfagiu Murabito Abdala, and recommending themselves to
+him, will enter no battle out of which they will not come victorious;
+and in whatever battle against Christians they may stain their lances
+with Christian blood, dying that same day, will go alive and whole with
+eyes open to Paradise, and his descendants will remain till the fourth
+generation forgiven.”</p>
+
+<p>The present Visagra Gate, rebuilt under Charles V., dates back to the
+Moors. It is entirely Moorish in character, with the heavy simple
+features, the triple horseshoe arches and upper crenellated apertures
+which we associate with the first period of Morisco architecture.
+Through this gate, which is now blocked up, Alfonso VI. entered Toledo.
+The two graceful square towers, roofed with green and white tiles, which
+compose the edifice, are joined by the high turreted walls of a square
+courtyard, and the decorations include the Senate’s dedication of the
+gate to Charles Quint, the sculptured arms of the emperor, a statue of
+St. Eugenie, two others of Gothic kings, and a life-sized angel holding
+an unsheathed sword. This cold, bare inventory of the ornaments of the
+gate convey no idea of the splendid impressiveness of the structure, the
+splendour and charm of</p>
+
+<p><a name="plt_XLIX" id="plt_XLIX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE XLIX.</p></div>
+<a href="images/ill_192_lg.jpg">
+<img src="images/ill_192_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Blank Window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
+
+<p class="nind">which sink into comparative insignificance beside its glorious
+neighbour, the Gate of the Sun.</p>
+
+<p>This magnificent gate of rough stone, with its towers of brown granite,
+has been rightly described as one of the world’s masterpieces. Yet here
+again the pen is powerless to do justice to its beauty; and to describe
+its proportions and decoration is to complicate, rather than explain,
+the impression that is conveyed by the camera. The square towers, with
+their semi-circular fronts, and the great central arch resting on two
+Moorish columns, and the zones of ornamental arches above the
+horse-shaped openings, comprise a Moorish gem against a Spanish sky, a
+miracle of loveliness upon a rough and naked rampart. But how, cries
+Hannah Lynch, to write of this Puerta del Sol, that “thing of beauty
+even among crowded enchantments! It is to pick one’s way through
+superlatives and points of exclamation and call in vain on the goddess
+of sobriety to subdue our tendency to excess and incoherence. Put this
+matchless gate in the middle of the desert of Sahara; it would then be
+worth while making the frightful journey alone to look at it. However
+far you may have journeyed, you would still be for ever thankful to have
+seen such a masterpiece&mdash;incontestably a work of supreme art, perhaps
+the rarest thing of the world.” Whether the writer intends her high
+eulogy to be applied generally to any “work of supreme art,” or to the
+Puerta del Sol in particular, most people who have come under the
+witching influence of the art of the Moors, will not deny that it is
+well deserved.<span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p>
+
+<p><a name="plt_L" id="plt_L"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE L.</p></div>
+<a href="images/ill_193_lg.jpg">
+<img src="images/ill_193_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Rafters of a Roof over a Doorway, now destroyed, beneath the Tocador de
+la Reyna.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p>
+
+<p class="ills"><a name="ill_163" id="ill_163"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_194_lg.jpg">
+<img src="images/ill_194_sml.jpg" width="554" height="375" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>ANCIENT ARABIAN BATHS AT PALMA, MAJORCA.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span>&nbsp; </p>
+
+<h2><a name="MOORISH_ORNAMENT" id="MOORISH_ORNAMENT"></a>MOORISH ORNAMENT<br /><br />
+<small>A NOTE ON THE ELEMENTS OF ARAB ART</small></h2>
+
+<p class="nind"><span class="letra">I</span>N art, precept is subservient; practice is supreme. The idea which may
+be hidden in a picture is of little moment; it is the design, fully
+accomplished, which is prized. Its inspiration may become a “light to
+shine before men,” but it attains its paramount value only when
+realised.</p>
+
+<p>Refinement of manners and acuteness of intellect have, in the East,
+nothing in common with what we call education. In this social state,
+ignorance, which, among us, condemns a man, may be the condition of
+great originality. The Arab tent-dweller was, and is, often, a very
+superior man; for the tent is a kind of school, always open, where, from
+contact with educated guests who have seen men and cities, was produced
+an intellectual movement which led the Arab, in exchanging his nomadic
+life for a settled habitation, to translate the tent to a more solid
+form; to commute the tent-pole for a slender marble column; and to
+transform luxurious products of the loom, which had adorned his former
+dwelling, to a semblance of their golden tissues on fairy-decorated
+diapery.</p>
+
+<p>If the poetry and refinement of the South of Europe in modern times
+cannot be traced, as many authors would have us believe&mdash;notably Father
+Andres, a learned Spaniard, anxious to give to his own country the
+honour of imparting to the rest of Europe the first impulse of
+refinement after<span class="pagenum"><a name="page_440" id="page_440">{440}</a></span> the fall of the Roman Empire&mdash;to the Arabs of Spain,
+much must still be allowed to their influence; for their progress in
+refinement was hardly less brilliant and rapid than their progress in
+Empire. At the period of the glory of Cordova, which began about <small>A.D.</small>
+750, and continued to the time of its conquest by the Christians in
+1236, the scholars of Spain were in a higher state of cultivation than
+could be found elsewhere; and if the Kingdom of Granada&mdash;the last
+stronghold of the Moslem&mdash;which ended in 1492, was less refined, it was
+perhaps more splendid and luxurious. The public schools and libraries of
+the Spanish Arabs were resorted to, not only by those of their own faith
+at home and in the East, but by Christians from different parts of
+Europe; and Pope Sylvester the Second (Gerbet, a Frenchman, Pope
+999-1003), one of the most remarkable men of his age, is believed to
+have owed his elevation to the culture he absorbed in Seville and
+Cordova.</p>
+
+<p>Arab art takes its place with the arts of Greece and Japan as one of the
+three great schools into which all styles of ornament naturally fall.
+Beauty and simplicity&mdash;the restrained rhythm and order which form the
+essential foundation of Greek art&mdash;is as distinct from the vivacious
+realism and unsymmetrical, haphazard decoration of the Japanese, as from
+that elegance and complexity produced by geometrical involutions
+symmetrically constructed, which constitute the basis of Moorish art.
+These three styles have been compared by Monsieur J. Bourgoin, in his
+<i>Elements of Arab Art</i>, to the three kingdoms of Nature. Greek art he
+likens to the animal kingdom, the Japanese art to the vegetable kingdom,
+and Arabian art, from the symmetry which recalls the crystallisation of
+minerals in its uniformity of configuration, and its elementary
+structure, he compares with the mineral kingdom.</p>
+
+<p><a name="plt_LI" id="plt_LI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LI.</p></div>
+<a href="images/ill_195_lg.jpg">
+<img src="images/ill_195_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Band at Springing of Arch at the Entrance to one of the Halls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
+
+<p>In the art of the Arabs the inspiration is completely independent of
+living nature. The Arab artist proceeds from within to the exterior; he
+sets himself problems, and transfers them by means of the compass and
+rule. The decorative impulse of Arab art consists of geometrical
+diagrams either carved into relief, or inlaid, or simply laid flat.
+Since the inspiration is dry, and purely abstract, the artistic
+development is slight and unimportant; and, since the motive is
+restricted, Arab decorative art has remained simple, but still of an
+incomparable elegance, because the harmony between inspiration and
+execution is perfect. By their creed Mohammedan artists were forbidden
+to represent living forms, yet they adopted the principles they found in
+Nature, and developed them with absolute fidelity. Thus, as I showed in
+dealing with the architecture of the Alhambra, in surface decoration by
+the Moors the lines flow from a parent stem; every ornament, however
+distant, can be traced to its branch and root. In all cases we find the
+lines radiating from a parent stem, as we may see exemplified in Nature
+by the human hand, or in a leaf. 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 expanse they have to
+decorate, they always commence by dividing the field into equal areas,
+and round these main lines they fill in their details, which invariably
+return to their parent stem, a system which proves them to have been
+absolute masters of space.</p>
+
+<p>In the introduction to my volume on the Alhambra, I emphasised this
+fact, that the Moors ever had regard to the first principle of
+architecture&mdash;to decorate construction, never to construct decoration.
+In Arabian architecture, not only does the decoration arise naturally
+out of the construction, but the constructive idea is carried out in
+every detail<span class="pagenum"><a name="page_442" id="page_442">{442}</a></span> of the ornamentation of the surfaces. A superfluous or
+useless ornament is never found in Moorish decoration; every ornament
+arises naturally and inevitably from the parent design. The general
+forms were first laid down; they were subdivided by general lines; the
+interstices were then filled in with ornament, to be again subdivided
+and enriched for closer inspection. The principle was carried out with
+the greatest refinement, and the harmony and beauty of all Moorish
+ornamentation is derived from its observance. The highest distinction
+was thereby obtained; the detail never interfering with the general
+form. Seen at a distance, the main lines strike the eye; on nearer
+approach, the ornamentation comes into the composition; and a minute
+inspection reveals the detail on the surface of the ornaments
+themselves.</p>
+
+<p>Monsieur A. Rhone, in his <i>L’Egypte à Petites Journées</i>, holds that,
+“seeing the marvellous resources which the Arabs have found in geometry
+for decorating surfaces, one regrets less for art that the laws of
+Islamism have forbidden them, as an idolatrous act, to introduce
+representations of animated forms. Although these laws were not so
+strictly observed as is generally believed, who knows, if in turning the
+Arabian artists away from sculpture and statuary, they have not been the
+means of preserving this special and almost transcendant aptitude that
+the Semites have for all subtle combinations, and especially for those
+of geometrical numbers, lines, and figures?”</p>
+
+<p>Although the principles of Moorish art are so rigid and severe, the
+Arabs have not remained exempt from exterior influence, but have adapted
+and incorporated foreign feeling into their art, and modified it to
+their purpose. A note by the late Owen Jones greatly emphasises this
+fact. He says:&mdash;“When the Mohammedan religion and civilisation</p>
+
+<p><a name="plt_LII" id="plt_LII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LII.</p></div>
+<a href="images/ill_196_lg.jpg">
+<img src="images/ill_196_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Panelling of a Recess.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_443" id="page_443">{443}</a></span></p>
+
+<p class="nind">rose with such astonishing rapidity in the East, the Arabs, in their
+mosques, made use of the materials which they found ready to their hands
+in the ruins of old Roman buildings which they purposely destroyed; they
+took columns with their Corinthian capitals, etc., and adapted them to
+the arrangement required for their own temples. In their subsequent
+works they did not, as we should have done, continue to copy and
+reproduce the models which were at first so convenient to them; but,
+applying to them their own peculiar feelings, they gradually departed
+from the original model, to such an extent at last, that but for the
+intermediate steps we should be unable to discover the least analogy
+between them. Yet by this process the capitals of their columns can be
+traced back to the Corinthian order which they, in the first instance,
+found so abundantly for their use.”</p>
+
+<p>Arab art must ever remain distinct from every other school and style,
+because the essential foundation of it is fixed and limited. Now, those
+who resign themselves to a style of art reduce themselves to formulas,
+to copies, or to diagrams. Greco-Roman art has its formulas of ordinance
+and propositions; Chino-Japanese art has its characteristic copies; and
+Syro-Arabian art its abstract and geometrical diagrams. The general
+elements of Arabian art, as applied to architecture and decoration,
+consist of stalactites, intertwinings, and ornaments. Stalactites, which
+are at the same time ornaments and members of architecture, are employed
+in corbelling, in coving, and in pendentives, and are modelled and
+superposed by tapia, or cut in wood and placed side by side, or opened
+into hollows by superficial casings in wire and tressing. The
+intertwinings which embellish the surfaces are carved and trimmed in
+splitboards of carpentry, or laid in compartments, or carved in open
+work, or engraved in stone, wood, and metal; or set in filigree,
+vignettes, or<span class="pagenum"><a name="page_444" id="page_444">{444}</a></span> mosaics. The ornaments, which divide themselves into
+decoration by embroidery or embellishment in sections, reduce themselves
+to a small number of elements, or flower-work cut flat in outline. The
+outlines, complete in the boundary which limits them, are quite
+characteristic. They do not resemble in any way, except in so far as the
+unalterable laws of geometry decree, the outline drawn by Europeans, nor
+the cursive traits used by the Chinese and Japanese. All Arab ornament
+is by involution of lines; in short, it may be said to be <i>entirely</i>
+geometric.</p>
+
+<p>The art of the Mohammedan, so powerful in appeal to the imagination, not
+only by beauty and grace, but by the doctrine of the Koran inscribed in
+their temples on every side in ornamented characters,&mdash;so admirably
+traced that they appear to form part of a perfected design proclaiming
+the power of Allah, and impressing upon the believer respect for the
+laws and the love of virtue;&mdash;produces an effect little short of
+magical. Still does that art accompany its religion in a lingering
+death. Crushed by the rapid strides which surrounding nations have made
+in the progress of civilization, and which have outrun and ruined it,
+yet do a few bright emanations appear, to show that as in religion they
+are faithful to their creed, so in art do their crumbling monuments
+preserve their shattered remains on which the observer still may see, in
+deep characters, the chronicles of the times.</p>
+
+<p>In the illustrations which accompany these brief notes, the Arab’s
+mastery of line in the composition of design may be studied, and its
+mystery revealed; but to reduce these geometrical intertwinings to their
+original elements demands patience, application, and very much time. At
+first sight these diagrams may appear monotonous, but each is
+constructed on a particular theme. Most of them spread</p>
+
+<p><a name="plt_LIII" id="plt_LIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LIII.</p></div>
+<a href="images/ill_197_lg.jpg">
+<img src="images/ill_197_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Blank Window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_445" id="page_445">{445}</a></span></p>
+
+<p class="nind">throughout the Orient, and may be more particularly studied in the
+Moorish monuments in Spain, where they are employed indifferently in
+carvings, in mosaic and inlaid work, in application to chased bronze,
+and in compartments of decoration and embroidery. The infinite variety
+the artists are able to introduce while working on strict rules, which
+admit of no exception, is the result of instinct perfected by centuries
+of practice. That in their work was something to be learned, as well as
+to be felt, is evident from the Moorish poet’s exhortation to us to
+attentively contemplate the adornments of their palaces, and thereby
+reap the benefit of a commentary on decoration. It is, then, for the
+benefit of students who would know something more of Arabian
+ornamentation than can be derived from the sensation produced by broad
+effects, and for lovers of the fine arts who would understand the
+inwardness of Moorish refinement and reduce its mysteries to their
+primary bases, that the accompanying diagrams have been reproduced.</p>
+
+<p>At foot of each diagram is added a short explanatory note; but it is
+expedient for the student to give consideration to the <i>plan</i> which is,
+in every case, set out in dotted lines. By this means, he will discover,
+if he approaches his subject with a free mind, that his task will offer
+less difficulty than would appear at the outset. To minutely describe
+the construction of each diagram, and, at the same time comply with the
+stringent rules of geometry, would occupy much too great a space; nor
+would the result, perhaps, be proportioned to the labour.<span class="pagenum"><a name="page_447" id="page_447">{447}</a></span><span class="pagenum"><a name="page_446" id="page_446">{446}</a></span></p>
+
+<div class="figcenter">
+<a href="images/ill_198_lg.jpg">
+<img src="images/ill_198_sml.jpg" width="351" height="565" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;">
+<tr valign="top"><td>
+1 GREEK, RECTILINEAR.<br />
+1´ GREEK, CURVILINEAR.<br />
+2 CHINESE, RECTILINEAR.<br />
+2´ GREEK, CURVILINEAR.<br />
+3 and 4, GREEK, ALTERNATING<br />
+<span style="margin-left: 2em;">PATTERN.</span><br />
+5, 6, 7, 8, 9, 10, GREEK, INTERCALARY PATTERNS.<br />
+</td><td>
+11 CHINESE.<br />
+12 ASSYRIAN.<br />
+13 POMPEIAN.<br />
+14 GREEK.<br />
+15 GREEK.<br />
+16 GREEK.<br />
+17 CHINESE, ALTERNATING PATTERN.<br />
+</td><td>
+18 GREEK, ALTERNATING PATTERN.<br />
+19 CHINESE.<br />
+20 CHINESE.<br />
+21 ARABIAN.<br />
+22 CHINESE.<br />
+23 GREEK.<br />
+24 RENAISSANCE.<br />
+</td><td>
+25 ARABIAN.<br />
+26 CHINESE.<br />
+27 CHINESE.<br />
+28 PERSIAN.<br />
+29 POMPEIAN.<br />
+30 CHINESE.<br />
+31 CHINESE.<br />
+32 GREEK.<br />
+</td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_448" id="page_448">{448}</a></span></p>
+
+<p><a name="plt_LIV" id="plt_LIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LIV.</p></div>
+<a href="images/ill_199_lg.jpg">
+<img src="images/ill_199_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments on the Walls, House of Sanchez.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<p class="ills"><a name="ill_164" id="ill_164"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_200_lg.jpg">
+<img src="images/ill_200_sml.jpg" width="351" height="565" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+1, 2, 3, 4, GREEK AND ALBANIAN.<br />
+5, 6, 7, 8, RENAISSANCE.<br />
+9, 10, 11, 12, 13, 14, ITALIAN.<br /></td><td>
+15, 16, GALLO-ROMAN.<br />
+17, 18, 19, ITALIAN.<br />
+20 ITALIAN.<br />
+21, 22, ITALIAN FAÏENCE.<br /></td><td>
+23 PONDICHERY.<br />
+24 ARABIAN.<br />
+25, 26, GREEK.<br />
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_450" id="page_450">{450}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_451" id="page_451">{451}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_165" id="ill_165"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_201_lg.jpg">
+<img src="images/ill_201_sml.jpg" width="349" height="570" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+
+1, 2, 3, 4, 5, 6, 7, 8, 10, ARABIAN.<br />
+9 CHINESE.<br />
+11 RENAISSANCE.<br />
+12 GREEK.<br />
+13 ARABIAN.</td><td>
+14 ARABIAN.<br />
+15 GREEK, ALTERNATING PATTERN.<br />
+16 GREEK.<br />
+17 MEXICAN AND ARABIAN.</td><td>
+18 GREEK.<br />
+19 ARABIAN.<br />
+20 AMERICAN, ANCIENT POTTERY.<br />
+21, 22, ARABIAN.<br />
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_452" id="page_452">{452}</a></span></p>
+
+<p><a name="plt_LV" id="plt_LV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LV.</p></div>
+<a href="images/ill_202_lg.jpg">
+<img src="images/ill_202_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornament in panels on the Walls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_453" id="page_453">{453}</a></span></p>
+
+<p class="ills"><a name="ill_166" id="ill_166"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_203_lg.jpg">
+<img src="images/ill_203_sml.jpg" width="355" height="571" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+
+1, 2, EGYPTIAN.<br />
+3 EGYPTIAN NECKLACE.<br />
+4 ASSYRIAN.<br />
+5 POMPEIAN.<br />
+6 ITALIAN.</td><td>
+7 EGYPTIAN.<br />
+8 FRIEZE. 18TH CENTURY.<br />
+9 GREEK.<br />
+10 UNCERTAIN.</td><td>
+11 ARABIAN.<br />
+12 FRIEZE. 18TH CENTURY.<br />
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_454" id="page_454">{454}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_455" id="page_455">{455}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_167" id="ill_167"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_204_lg.jpg">
+<img src="images/ill_204_sml.jpg" width="354" height="569" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+
+1, 2, 3, 4, FROM PAINTED VASES.<br />
+5 GREEK.<br />
+6 ORIENTAL FILIGREE.<br />
+7, 8, GREEK.<br />
+9 PERSIAN.<br />
+10 GREEK.</td><td>
+11 CHINESE.<br />
+12 ORIENTAL FILIGREE.<br />
+13 INDIAN.<br />
+14, 15, PERSIAN.<br />
+16 ARABIAN.<br />
+17 GREEK.<br />
+18 PERSIAN.</td><td>
+19 ORIENTAL CHASING.<br />
+20 ARABIAN.<br />
+21 PERSIAN.<br />
+22 TURKISH.<br />
+23 GREEK.<br />
+24 PASSEMENTERIE.<br />
+25 NEAPOLITAN.<br />
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_456" id="page_456">{456}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_168" id="ill_168"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_205_lg.jpg">
+<img src="images/ill_205_sml.jpg" width="356" height="570" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+1, 1´, DAMASCENE.<br />
+2, 2´, 2´´, 2´´´, ARABIAN.<br />
+3, 3´, ARABIAN.</td><td>
+4, 4´, 4´´, DAMASCENE (ANALOGOUS<br /> TO FIGS. 1´, 2´´´, 3´).<br />
+5, 5´, ARABIAN.</td><td>
+6, 6´, ARABIAN.<br />
+7, 8, 9, ARABIAN.<br />
+10, 10´, 11, 11’, CHINESE.</td><td>
+12, 12´, GREEK.<br />
+13, 14, PERSIAN.<br />
+15, 16, ANGLO-SAXON.<br />
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_459" id="page_459">{459}</a></span>&nbsp; </p>
+
+<p><a name="plt_LVI" id="plt_LVI"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_206_lg.jpg">
+<img src="images/ill_206_sml.jpg" width="578" height="423" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>PLATE LVI.
+
+Ornament in spandrils of arches.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<p class="ills"><a name="ill_169" id="ill_169"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_207_lg.jpg">
+<img src="images/ill_207_sml.jpg" width="353" height="571" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+1, 2, 3, GREEK.<br />
+4 EGYPTIAN.</td><td>
+5 STYLE “LABROUSTE.”<br />
+5´ BYZANTINE.</td><td>
+6 GREEK.<br />
+7, 7´, GREEK.</td><td>
+8, 9, 10, 10´, 11, 11´,<br />
+GREEK (PARTHENON).<br />
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_461" id="page_461">{461}</a></span></p>
+
+<p class="ills"><a name="ill_170" id="ill_170"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_208_lg.jpg">
+<img src="images/ill_208_sml.jpg" width="355" height="572" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:center;font-size:60%;"><tr valign="top"><td>
+<i>Arabian Construction.</i><br />
+<br />
+1, 1´, ONE SPIRAL.<br />
+2, 2´, TWO SPIRALS.<br />
+3, 3´, THREE SPIRALS.<br />
+4 CROSS QUARTERLY INDICATING POSITIONS ESSENTIAL TO THE <i>motif</i> NUMBER 3.<br />
+5, 6, 7, 8, REPETITIONS OF <i>motif</i> NUMBER 3 VARIOUSLY TREATED.<br />
+9, 10, 11, 12, 13, 14, ARRANGEMENTS BY ALTERNATING TREATMENT OF <i>motif</i> NUMBER 3.<br />
+THESE ARRANGEMENTS AFFORD EXCELLENT EXAMPLES OF THE ENDLESS DIVERSITY<br />
+OF GEOMETRIC FORMS.<br />
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_462" id="page_462">{462}</a></span></p>
+
+<p><a name="plt_LVII" id="plt_LVII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LVII.</p></div>
+<div class="caption"><p>Centre Ornament of the Window.</p></div>
+<a href="images/ill_209_lg.jpg">
+<img src="images/ill_209_sml.jpg" alt="[Image unavailable.]" /></a>
+
+<div class="caption">
+<p>Mosaic Dado in a window.</p>
+
+<p>The recess or divan containing these beautiful Mosaics was, doubtless,
+the throne of the Moorish kings. The Mosaics are as perfect as when
+originally executed, and seem, indeed, to be imperishable. They are
+formed of baked clay squeezed into moulds of the different figures,
+glazed on the surface.</p></div>
+</div>
+
+<p><a name="plt_LVIII" id="plt_LVIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LVIII.</p></div>
+<a href="images/ill_210_lg.jpg">
+<img src="images/ill_210_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Mosaic Dados on pillars between windows.</p>
+
+<p>The Mosaic Dados on the pillars present a great variety in their
+patterns, although the component parts are in each the same.</p></div>
+</div>
+
+<p><a name="plt_LIX" id="plt_LIX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LIX.</p></div>
+<a href="images/ill_211_lg.jpg">
+<img src="images/ill_211_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Mosaic Dados on pillars between windows.</p>
+
+<p>These Mosaics, though in appearance so different from those of the
+preceding plate, will be found on examination to be composed of the same
+pieces differently combined.</p></div>
+</div>
+
+<p><a name="plt_LX" id="plt_LX"></a></p>
+
+<div class="figcenter">
+
+<div class="captionss"><p>PLATE LX.</p></div>
+<a href="images/ill_212_lg.jpg">
+<img src="images/ill_212_sml.jpg" width="579" height="343" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>The beautiful Mosaic in the centre of this plate is part of the Dado.</p></div>
+</div>
+
+<p><a name="plt_LXI" id="plt_LXI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXI.</p></div>
+<a href="images/ill_213_lg.jpg">
+<img src="images/ill_213_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Pavement of the Hall of the Baths.</p>
+
+<p>Mosaic Dado round the internal walls of the Mosque.</p>
+
+<p>Mosaics from the Mosque and the Hall of the Baths. 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 situation. The motto of the
+Kings of Granada, “<i>There is no conqueror but God</i>,” was replaced
+by “<i>Nec plus ultra</i>” of Charles V., when the Mosque was converted
+by him into a chapel. The beautiful Mosaic at the top of the plate
+is placed round the fountain of the Chamber of Repose of the Baths.
+</p></div>
+</div>
+
+<p><a name="plt_LXII" id="plt_LXII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXII.</p></div>
+<a href="images/ill_214_lg.jpg">
+<img src="images/ill_214_sml.jpg" width="397" height="572" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<p>
+Azulejos.&nbsp; &nbsp; &nbsp; &nbsp;       Painted Tiles.<br />
+</p>
+
+<p>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 plate.</p></div>
+</div>
+
+<p><a name="plt_LXIII" id="plt_LXIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXIII.</p></div>
+<a href="images/ill_215_lg.jpg">
+<img src="images/ill_215_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Mosaics in the Baths.</p></div>
+</div>
+
+<p><a name="plt_LXIV" id="plt_LXIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXIV.</p></div>
+<a href="images/ill_216_lg.jpg">
+<img src="images/ill_216_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Mosaic from the portico of the Generalife.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<p class="ills"><a name="ill_171" id="ill_171"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_217_lg.jpg">
+<img src="images/ill_217_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+1, 2, 3, VARIATIONS ON A CHINESE <i>motif</i>.<br />
+4, 5, 6, VARIATIONS ON A <i>motif</i> HISPANO-ARABIAN.<br /></td><td>
+7, 8, 9, VARIATIONS ON A <i>motif</i>, SYRO-ARABIAN.<br />
+10, 11, 12, VARIATIONS ON A <i>motif</i>, GALLO-ROMAN.
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<p><a name="plt_LXV" id="plt_LXV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXV.</p></div>
+<a href="images/ill_218_lg.jpg">
+<img src="images/ill_218_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments in Panels.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<p class="ills"><a name="ill_172" id="ill_172"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_219_lg.jpg">
+<img src="images/ill_219_sml.jpg" width="358" height="569" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+
+1 SIMPLE PLAIT, UNDULATED.<br />
+
+2 DOUBLE PLAIT.<br />
+
+3 SIMPLE PLAIT, INTERSECTED.<br />
+
+4 PLAIT, FROM A GREEK VASE.<br />
+
+5 REDOUBLED PLAIT, GREEK.<br />
+
+6 INFLECTED PLAIT, GREEK.<br />
+
+7 INFLECTED PLAIT, GREEK.<br /></td><td>
+
+8 QUADRUPLED PLAITS, INTERLACED, SICILIAN.<br />
+
+9 SICILIAN.<br />
+
+10 TRIPLE PLAIT, GREEK.<br />
+
+11 TRIPLE PLAIT, GREEK.<br />
+
+12 DIVERSIFIED PLAIT, NEAPOLITAN.<br /></td><td>
+
+13 GREEK.<br />
+
+14 GREEK.<br />
+
+15 ARABIAN.<br />
+
+16 PERSIAN (THREE PLAITS, INTERSECTED).<br />
+
+17 GREEK.</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_466" id="page_466">{466}</a></span></p>
+
+<p><a name="plt_LXVI" id="plt_LXVI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXVI.</p></div>
+<a href="images/ill_220_lg.jpg">
+<img src="images/ill_220_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments over Arches at one of the Entrances.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_467" id="page_467">{467}</a></span></p>
+
+<p class="ills"><a name="ill_173" id="ill_173"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_221_lg.jpg">
+<img src="images/ill_221_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><i>Egypto-Arabian Knot, or Net-work.</i></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+
+1 DERIVED FROM THE PENTAGON.</td><td>
+
+2 VARIETY OF PROCEEDING.<br />
+3, 4, TRIGONOMETRICAL.</td><td>
+5 OCTAGONAL.<br />
+6 HEPTAGONAL.</td><td>
+7 QUADRILATERAL.<br />
+8 OCTAGONAL.
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_468" id="page_468">{468}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_469" id="page_469">{469}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_174" id="ill_174"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_222_lg.jpg">
+<img src="images/ill_222_sml.jpg" width="351" height="565" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><i>Indo-Syro-Arabian Knot, or Net-work.</i></p>
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+1 SQUARES AND OCTAGONS.<br />
+
+2 DERIVED FROM SQUARES.<br />
+
+3 DERIVED FROM THE SQUARE: FROM THE CENTRE<br /> A DODECAGON AND OTHER FIGURES
+ARE FORMED<br /> BY SUB-DIVISION.</td><td>
+
+4 DERIVED FROM THE SQUARE: THE ANGLES BEING<br /> DIVIDED, THE RESULTING RAYS
+DETERMINE<br /> THE FIGURES BY INTERSECTION.<br />
+
+5 ANALOGOUS TO FIGURE 2.<br />
+
+6 TRIGONOMETRICAL.<br />
+
+7 HEXAGONAL.
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<p><a name="plt_LXVII" id="plt_LXVII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXVII.</p></div>
+<a href="images/ill_223_lg.jpg">
+<img src="images/ill_223_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments on the Walls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<p class="ills"><a name="ill_175" id="ill_175"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_224_lg.jpg">
+<img src="images/ill_224_sml.jpg" width="353" height="574" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+
+1, 1’, BRICK FACINGS FROM ROSETTA.<br />
+
+2, 3, 4, ARABIAN.
+</td><td>
+
+5 JAPANESE.<br />
+
+6 GRECO-ASSYRIAN.
+</td><td>
+
+7 ARABIAN.<br />
+
+8 CHINESE.
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_472" id="page_472">{472}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_473" id="page_473">{473}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_176" id="ill_176"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_225_lg.jpg">
+<img src="images/ill_225_sml.jpg" width="355" height="571" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:center;font-size:60%;"><tr valign="top"><td>
+
+1 ARABIAN.<br />
+
+2 ORNAMENTED BRICK, ROSETTA.<br />
+
+3, 4, 5, 6, FOUR ANALOGOUS <i>motifs</i>, RESPECTIVELY CHINESE, ARABIAN
+(<i>bis</i>) AND GRECO-ASSYRIAN.
+
+7 ARABIAN.
+
+8 GRECO-EGYPTIAN.
+
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_474" id="page_474">{474}</a></span></p>
+
+<p><a name="plt_LXVIII" id="plt_LXVIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXVIII.</p></div>
+<a href="images/ill_226_lg.jpg">
+<img src="images/ill_226_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Ornaments in Panels on the Walls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_475" id="page_475">{475}</a></span></p>
+
+<p class="ills"><a name="ill_177" id="ill_177"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_227_lg.jpg">
+<img src="images/ill_227_sml.jpg" width="360" height="576" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+1 ARABIAN (DAMASCUS).<br />
+
+2 CEILING, LOUIS XIII.</td><td>
+
+3, 4, 5, ARABIAN (DAMASCUS)?<br />
+
+6 INDIAN.
+
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_476" id="page_476">{476}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_178" id="ill_178"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_228_lg.jpg">
+<img src="images/ill_228_sml.jpg" width="355" height="574" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>1, 2, 3, 4, 5, 6, 7, 8, ARABIAN.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_478" id="page_478">{478}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_479" id="page_479">{479}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_179" id="ill_179"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_229_lg.jpg">
+<img src="images/ill_229_sml.jpg" width="353" height="567" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:center;font-size:60%;"><tr valign="top"><td>
+
+1 INCRUSTATION ON POTTERY, FROM OIRON.<br />
+
+2 RENAISSANCE.
+
+3 MEXICAN.
+
+4 CHINESE.
+
+5 EGYPTIAN.
+
+6 ARABIAN.<br />
+
+7, 8, 9, EARLY TILES, FROM DAMASCUS, ROME, AND FLORENCE RESPECTIVELY.<br />
+
+10 ITALIAN.
+
+11, 11’, EGYPTIAN.
+
+12 ITALIAN.
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p>
+
+<p><a name="plt_LXIX" id="plt_LXIX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXIX.</p></div>
+<a href="images/ill_230_lg.jpg">
+<img src="images/ill_230_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Small Panel in Jamb of a Window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<p class="ills"><a name="ill_180" id="ill_180"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_231_lg.jpg">
+<img src="images/ill_231_sml.jpg" width="353" height="572" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<p class="c">
+1 PERSIAN.
+
+2 ARABIAN CEILING, FROM CAIRO.
+
+3 CEILING, PAINTED BY DUBAN.<br />
+
+4 BYZANTINE.
+
+5 CHINESE.
+
+6 POMPEIAN.
+</p>
+
+</div></div>
+
+<p><span class="pagenum"><a name="page_482" id="page_482">{482}</a></span></p>
+
+<p><a name="plt_LXX" id="plt_LXX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXX.</p></div>
+<a href="images/ill_232_lg.jpg">
+<img src="images/ill_232_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Small Panel in Jamb of a Window.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_483" id="page_483">{483}</a></span></p>
+
+<p class="ills"><a name="ill_181" id="ill_181"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_233_lg.jpg">
+<img src="images/ill_233_sml.jpg" width="356" height="565" alt="[Image unavailable.]" /></a>
+<div class="caption"><p class="c">1, 2, LACE-WORK.
+
+3, 3’, EGYPTIAN.
+
+4, 4’, EGYPTIAN.
+
+5, 6, EGYPTIAN.</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_484" id="page_484">{484}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_485" id="page_485">{485}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_182" id="ill_182"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_234_lg.jpg">
+<img src="images/ill_234_sml.jpg" width="354" height="566" alt="[Image unavailable.]" /></a>
+<div class="caption"><p class="c">1, 2, 3, ANGLO-SAXON.
+
+4 EGYPTIAN. STRANGELY ANALOGOUS TO NUMBER 3.<br />
+
+5, 6, 7, ANGLO-SAXON.
+
+8 EGYPTIAN.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_486" id="page_486">{486}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_183" id="ill_183"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_235_lg.jpg">
+<img src="images/ill_235_sml.jpg" width="354" height="565" alt="[Image unavailable.]" /></a>
+<div class="caption">
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+class="captiont" style="text-align:left;font-size:60%;"><tr valign="top"><td>
+1 ARABIAN.<br />
+
+2 ITALIAN.</td><td>
+
+3 RENAISSANCE.<br />
+
+4 ARABIAN.</td><td>
+
+5 ARABIAN.<br />
+
+6 ARABIAN.
+</td>
+</tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_489" id="page_489">{489}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_184" id="ill_184"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_236_lg.jpg">
+<img src="images/ill_236_sml.jpg" width="354" height="568" alt="[Image unavailable.]" /></a>
+<div class="caption"><p class="c">1, 2, 3, FROM THE CHURCH OF ST. CROIX, JERUSALEM.
+
+4 SICILIAN.<br />
+
+5, 6, 7, 8, ARABIAN.
+
+9, 10, CHISELLINGS ON STONE, JERUSALEM.
+
+11 MARBLE CHASING, JERUSALEM.<br />
+
+12, 13, ARABIAN CHASINGS, ON COPPER.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_490" id="page_490">{490}</a></span></p>
+
+<p><a name="plt_LXXI" id="plt_LXXI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXI.</p></div>
+<a href="images/ill_237_lg.jpg">
+<img src="images/ill_237_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Panel in the Upper Chamber of the House of Sanchez.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_491" id="page_491">{491}</a></span></p>
+
+<p class="ills"><a name="ill_185" id="ill_185"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_238_lg.jpg">
+<img src="images/ill_238_sml.jpg" width="348" height="566" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>1, 2, 3, “PALMETTES” FROM THE PROWS OF <i>dahabiehs</i> (NILE
+BOATS)</p>
+
+<p>4, 5, 6, 7, 8, GREEK, FROM EXAMPLES AT ATHENS.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_492" id="page_492">{492}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span>&nbsp; </p>
+
+<p class="ills"><a name="ill_186" id="ill_186"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_239_lg.jpg">
+<img src="images/ill_239_sml.jpg" width="352" height="571" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>1-9. THIS PLATE IS DEVOTED TO CURVILINEAR FIGURES,
+CHIEFLY FROM ATHENS.<br />
+FIGURE 7 IS FROM A MURAL DECORATION AT POMPEII.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_495" id="page_495">{495}</a></span>&nbsp; </p>
+
+<h2>DESCRIPTION OF THE PLATES</h2>
+
+<p class="cb">HEXAGONAL FAMILY</p>
+
+<p class="ills"><a name="ill_187" id="ill_187"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-187_lg.jpg">
+<img src="images/pattern-187_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 1 PLAN, TRIANGULAR. TO DESCRIBE THE HEXAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_188" id="ill_188"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-188_lg.jpg">
+<img src="images/pattern-188_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<div class="captionh"><p>
+ 2 PLAN, TRIANGULAR. LARGE AND SMALLER HEXAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_496" id="page_496">{496}</a></span></p>
+
+<p class="ills"><a name="ill_189" id="ill_189"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-189_lg.jpg">
+<img src="images/pattern-189_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 3 PLAN, TRIANGULAR. CURVILINEAL TRANSFORMATION OF THE
+PRECEDING FIGURE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_190" id="ill_190"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-190_lg.jpg">
+<img src="images/pattern-190_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 4 TRIANGLES CURTAILED; OR, TERNARY HEXAGONS
+INTERSECTED.</p>
+</div></div>
+
+<p><a name="plt_LXXII" id="plt_LXXII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXII.</p></div>
+<a href="images/ill_242_lg.jpg">
+<img src="images/ill_242_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Spandril from Niche of Doorway at one of the Entrances.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<p class="ills"><a name="ill_191" id="ill_191"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-191_lg.jpg">
+<img src="images/pattern-191_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 5 INTERSECTIONS IN COMPARTMENTS. FIVE FIGURES&mdash;LARGE AND
+SMALLER HEXAGON; HEXAGON OF UNEQUAL LENGTH; DOVE-TAILED HEXAGON;
+HEXAGONAL STAR; TRIANGLE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_192" id="ill_192"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-192_lg.jpg">
+<img src="images/pattern-192_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 6 HEXAGONS INTERSECTED CIRCULARLY BY THE SIX POINTS, THE
+APICES UNITED BY A TRIANGLE. FOUR FIGURES&mdash;STAR, PENTAGON, TRIANGLE,
+LOZENGE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_498" id="page_498">{498}</a></span></p>
+
+<p class="ills"><a name="ill_193" id="ill_193"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-193_lg.jpg">
+<img src="images/pattern-193_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 7 HEXAGONS, INTERSECTED BY THE APICES. THREE
+FIGURES&mdash;STAR, LOZENGE, DODECAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_194" id="ill_194"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-194_lg.jpg">
+<img src="images/pattern-194_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 8 TRIANGULAR PLAN. FROM THE APICES OF THE TRIANGLES OF
+DIVISION DRAW HEXAGONAL STARS. THE PLAN IS INTERSECTED BY DETACHED
+HEXAGONS ENCLOSING THE STARS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_499" id="page_499">{499}</a></span></p>
+
+<p class="ills"><a name="ill_195" id="ill_195"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-195_lg.jpg">
+<img src="images/pattern-195_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 9 TRIANGLES ENCLOSED, AND LEAVING HEXAGONAL STARS, THE
+STARS BEING JOINED BY ZIG-ZAG BANDS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_196" id="ill_196"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-196_lg.jpg">
+<img src="images/pattern-196_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 10 HEXAGONAL STAR, OF WHICH A SIDE FROM EACH APEX IS
+EXTENDED IN REVOLVING; THREE STARS THUS REVOLVED ARE JOINED BY A BAND.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_500" id="page_500">{500}</a></span></p>
+
+<p class="ills"><a name="ill_197" id="ill_197"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-197_lg.jpg">
+<img src="images/pattern-197_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 11 BANDS ENVELOPING A HEXAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_198" id="ill_198"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-198_lg.jpg">
+<img src="images/pattern-198_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 12 RECTANGLES INTERSECTING REGULARLY BY THREES, AND
+INTERLACED BY THEIR SMALLER SIDES, THEIR EXTREMITIES, PENETRATING,
+FORMING THREE PAIRS OF PENTAGONS.</p>
+</div></div>
+
+<p><a name="plt_LXXIII" id="plt_LXXIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXIII.</p></div>
+<a href="images/ill_247_lg.jpg">
+<img src="images/ill_247_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Lintel of a Doorway.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<p class="ills"><a name="ill_199" id="ill_199"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-199_lg.jpg">
+<img src="images/pattern-199_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 13 FROM THE APICES OF TRIANGLES OF DIVISION DESCRIBE
+CIRCUMFERENCES; DIVIDE THE CIRCUMFERENCES IN TWELVE EQUAL PARTS, AND
+TAKE THE DIAGONALS OF FIVE IN FIVE DIVISIONS; THUS STARS OF SIX POINTS
+ARE OBTAINED. THESE STARS CONTAIN IN THE ENCLOSURE A HEXAGON OF TERNARY
+SYMMETRY, WITH ANGLES ALTERNATELY RIGHT AND OBTUSE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_200" id="ill_200"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-200_lg.jpg">
+<img src="images/pattern-200_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 14</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_502" id="page_502">{502}</a></span></p>
+
+<p class="ills"><a name="ill_201" id="ill_201"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-201_lg.jpg">
+<img src="images/pattern-201_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 15 FROM THE APICES OF THE TRIANGLES OF DIVISION DESCRIBE
+A CIRCUMFERENCE. WITH A RADIUS EQUAL TO THAT OF THE TRIANGLE. INSCRIBE A
+DODECAGON; THEN TAKE THE DIAGONALS OF THREE IN THREE DIVISIONS FROM THE
+OTHER DIAGONALS WHICH FORM THE SQUARES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_202" id="ill_202"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-202_lg.jpg">
+<img src="images/pattern-202_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 16 FIGURE ANALOGOUS TO FIGURE 8. <i>q.v.</i></p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_503" id="page_503">{503}</a></span></p>
+
+<p class="ills"><a name="ill_203" id="ill_203"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-203_lg.jpg">
+<img src="images/pattern-203_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 17 FROM THE APICES OF THE TRIANGLES OF DIVISION DESCRIBE
+CIRCUMFERENCES HAVING A RADIUS EQUAL TO ONE-THIRD OF A SIDE; SUB-DIVIDE
+THEM INTO TWELVE EQUAL PARTS, THEN TAKE THE DIAGONALS OF THREE IN THREE
+DIVISIONS. THE RADIUS OF THE CIRCUMFERENCES WOULD BE SMALLER OR LARGER
+THAN THE ONE-THIRD OF THE SIDE; AND THEN, BY MEANS OF AN ADJUSTMENT, THE
+SQUARES BETWEEN THE APICES WOULD HAVE A SIDE EQUAL TO THAT OF THE
+STARS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_204" id="ill_204"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-204_lg.jpg">
+<img src="images/pattern-204_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 18 DODECAGONS INTERSECTED BY EACH OTHER, WHICH ARE
+OBTAINED BY SUB-DIVISION OF THE ANGLES OF THE TRIANGLES INTO FOUR EQUAL
+PARTS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_504" id="page_504">{504}</a></span></p>
+
+<p class="ills"><a name="ill_205" id="ill_205"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-205_lg.jpg">
+<img src="images/pattern-205_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 19 DODECAGONS CONTAINING SIX-POINTED STARS SUB-DIVIDED BY
+BANDS. THE RADIUS OF THE DODECAGONS IS EQUAL TO HALF A SIDE OF THE
+TRIANGLES OF DIVISION.</p>
+</div></div>
+
+<p class="ills"><a name="ill_206" id="ill_206"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-206_lg.jpg">
+<img src="images/pattern-206_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 20 FROM THE APICES OF THE TRIANGLES DESCRIBE A
+CIRCUMFERENCE, WITH ITS RADIUS EQUAL TO HALF A SIDE OF THE TRIANGLES.
+THE SIX-POINTED STARS AND BANDS WHICH ARE DERIVED FROM THEM COULD BE OF
+DIFFERENT PROPORTIONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_505" id="page_505">{505}</a></span></p>
+
+<p class="ills"><a name="ill_207" id="ill_207"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-207_lg.jpg">
+<img src="images/pattern-207_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 21 DISTRIBUTION PROCEEDING FROM HEXAGONS AND TRIANGLES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_208" id="ill_208"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-208_lg.jpg">
+<img src="images/pattern-208_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 22 SIX-POINTED STARS AND HEXAGONS, FROM WHICH PROCEED
+BAND-WORK AND LOZENGES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_506" id="page_506">{506}</a></span></p>
+
+<p class="ills"><a name="ill_209" id="ill_209"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-209_lg.jpg">
+<img src="images/pattern-209_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 23 HEXAGONS, TRIANGLES, AND SIX-POINTED STARS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_210" id="ill_210"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-210_lg.jpg">
+<img src="images/pattern-210_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 24 SUBJECT SIMILAR TO NUMBER 21.</p>
+</div></div>
+
+<p><a name="plt_LXXIV" id="plt_LXXIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXIV.</p></div>
+<a href="images/ill_254_lg.jpg">
+<img src="images/ill_254_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Capital of Columns.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_507" id="page_507">{507}</a></span></p>
+
+<p class="ills"><a name="ill_211" id="ill_211"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-211_lg.jpg">
+<img src="images/pattern-211_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 25 LARGE HEXAGONS CROSSED AND CUT BY FIGURES QUARTERED BY
+EIGHT SIDES; HORIZONTAL AND VERTICAL BANDS PROCEEDING FROM SIX-POINTED
+STARS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_212" id="ill_212"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-212_lg.jpg">
+<img src="images/pattern-212_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 26 FROM THE APICES OF THE TRIANGLES OF DIVISION DESCRIBE
+THE CIRCUMFERENCES, AND DIVIDE THEM INTO TWELVE EQUAL PARTS. BY THE
+POINTS OF THE STAR THUS MADE, DESCRIBE SIX HALF-CIRCLES, IN EACH CASE
+FORMING A ROSETTE. SMALL INTERCALARY CIRCLES UNITE THE ROSETTES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_508" id="page_508">{508}</a></span></p>
+
+<p class="ills"><a name="ill_213" id="ill_213"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-213_lg.jpg">
+<img src="images/pattern-213_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 27 EACH SIX-POINTED STAR IS SURROUNDED BY A ROSETTE OF
+SIX HEXAGONS, WHICH, IN THEIR TURN, DISTRIBUTE THEIR LINES TO FORM
+LARGER HEXAGONS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_214" id="ill_214"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-214_lg.jpg">
+<img src="images/pattern-214_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 28 EACH SIX-POINTED STAR IS SURROUNDED BY A ROSETTE OF
+SIX HEXAGONS, WHICH ARE SUPPLEMENTED BY PERPENDICULAR LINES, WHICH, BY
+INTERSECTING OCTAGONS THEMSELVES, ARE THE MEANS OF COMPLETING SMALL
+HEXAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_509" id="page_509">{509}</a></span></p>
+
+<p class="ills"><a name="ill_215" id="ill_215"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-215_lg.jpg">
+<img src="images/pattern-215_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 29 FROM THE UPPER ANGLES OF THE SQUARES OF DIVISION TRACE
+STARS SIX-POINTED, ROTATING ALTERNATELY AS SHOWN IN DIAGRAM. THE
+JUNCTION OF THE LINES OF DIVISION DETERMINE THE POINTS OF THE FIGURE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_216" id="ill_216"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-216_lg.jpg">
+<img src="images/pattern-216_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 30 ALTERNATING DISPOSITIONS OF SIX-POINTED STAR, WITH
+EXTERIOR ROSETTE OF SIX HEXAGONS. THE ANGLES OF THE SQUARE BEING DIVIDED
+INTO THREE EQUAL PARTS BY A FIRST AND SECOND RADIUS, A CIRCUMFERENCE IS
+MADE, WITHIN WHICH IS INSCRIBED THE STAR OF SIX POINTS. THE REST
+FOLLOWS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_510" id="page_510">{510}</a></span></p>
+
+<p class="ills"><a name="ill_217" id="ill_217"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-217_lg.jpg">
+<img src="images/pattern-217_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 31 SUBJECT ANALOGOUS TO NUMBERS 28, 29.</p>
+</div></div>
+
+<p class="ills"><a name="ill_218" id="ill_218"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-218_lg.jpg">
+<img src="images/pattern-218_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 32 ALTERNATING DISPOSITION OF SIX-POINTED STAR,
+SURROUNDED BY SIX HEXAGONS. SUB-DIVIDE THE ANGLES OF THE SQUARE INTO
+THREE EQUAL PARTS. THE CONJUNCTION OF THE RADII WITH THEM, AND WITH THE
+MEDIALS OF THE SQUARE, MAKE THE FIGURE. IN THE CENTRE OF THE SQUARE A
+LINEAL SUBJECT, ALTERNATING.</p>
+</div></div>
+
+<p><a name="plt_LXXV" id="plt_LXXV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXV.</p></div>
+<a href="images/ill_259_lg.jpg">
+<img src="images/ill_259_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Capital of Columns.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_511" id="page_511">{511}</a></span></p>
+
+<p class="ills"><a name="ill_219" id="ill_219"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-219_lg.jpg">
+<img src="images/pattern-219_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 33 HEXAGONAL AND OCTAGONAL DISTRIBUTION.</p>
+</div></div>
+
+<p class="ills"><a name="ill_220" id="ill_220"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-220_lg.jpg">
+<img src="images/pattern-220_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 34 HEXAGONAL DISTRIBUTION. PENTAGONAL STARS AND
+HEXAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_512" id="page_512">{512}</a></span></p>
+
+<p class="ills"><a name="ill_221" id="ill_221"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-221_lg.jpg">
+<img src="images/pattern-221_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 35 HEXAGONAL STAR INSCRIBING A SECOND SIX-POINTED STAR.
+THE INTERSECTIONS GIVE LOZENGES AND HEXAGONS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_222" id="ill_222"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-222_lg.jpg">
+<img src="images/pattern-222_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 36 SQUARE PLAN. DIVIDE OPPOSITE LINES INTO THREE, AND BY
+THE CENTRE OF THE SQUARE CARRY TWO CROSS LINES.</p>
+</div></div>
+
+<p><a name="plt_LXXVI" id="plt_LXXVI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXVI.</p></div>
+<a href="images/ill_262_lg.jpg">
+<img src="images/ill_262_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Capital of Columns.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_513" id="page_513">{513}</a></span></p>
+
+<p class="ills"><a name="ill_223" id="ill_223"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-223_lg.jpg">
+<img src="images/pattern-223_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 37 TRIANGULAR PLAN. HEXAGONAL STAR AND HEXAGONAL ROSETTE
+ENCLOSED BY REGULAR HEXAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_224" id="ill_224"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-224_lg.jpg">
+<img src="images/pattern-224_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 38 HEXAGONAL, SQUARE, AND TRIANGULAR PLAN. HEXAGONAL
+DISTRIBUTION. DODECAGON STAR IN CENTRES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_514" id="page_514">{514}</a></span></p>
+
+<p class="ills"><a name="ill_225" id="ill_225"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-225_lg.jpg">
+<img src="images/pattern-225_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 39 TRIANGULAR PLAN. HEXAGONAL DISPOSITION.</p>
+</div></div>
+
+<p class="ills"><a name="ill_226" id="ill_226"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-226_lg.jpg">
+<img src="images/pattern-226_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 40 TRIANGULAR PLAN. HEXAGONS AND TRIANGLES; INTERSECTED
+HEXAGONS; HEXAGONAL CURVILINEAR ROSETTES.</p>
+</div></div>
+
+<p><a name="plt_LXXVII" id="plt_LXXVII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXVII.</p></div>
+<a href="images/ill_265_lg.jpg">
+<img src="images/ill_265_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>SEVILLE.</p>
+
+<p>Socle of the Entrance Arch to the Antechapel.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_515" id="page_515">{515}</a></span></p>
+
+<p class="ills"><a name="ill_227" id="ill_227"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-227_lg.jpg">
+<img src="images/pattern-227_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 41 TRIANGULAR PLAN. DODECAGONAL STARS; HEXAGONAL STARS
+ENCLOSED BY REGULAR HEXAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_228" id="ill_228"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-228_lg.jpg">
+<img src="images/pattern-228_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 42 SQUARE PLAN. FROM THE CENTRE DESCRIBE A CIRCUMFERENCE;
+DIVIDE CIRCUMFERENCE INTO EIGHT EQUAL PARTS, STARRED OCTAGONS ARE THUS
+OBTAINED, THE PROLONGED SIDES OF WHICH DETERMINE QUADRILATERAL STARS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_516" id="page_516">{516}</a></span></p>
+
+<p class="ills"><a name="ill_229" id="ill_229"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-229_lg.jpg">
+<img src="images/pattern-229_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 43 CURVILINEAL TRANSFORMATION OF FIGURE 42.</p>
+</div></div>
+
+<p class="ills"><a name="ill_230" id="ill_230"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-230_lg.jpg">
+<img src="images/pattern-230_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 44 OCTAGONAL STARS; INTERSECTING LOZENGES, SQUARES,
+TRILATERALS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_517" id="page_517">{517}</a></span></p>
+
+<p class="ills"><a name="ill_231" id="ill_231"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-231_lg.jpg">
+<img src="images/pattern-231_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 45 DIVIDE THE SQUARE INTO FOUR EQUAL PARTS. THE MEETING
+OF THE FIRST LINE WITH THE MEDIAN OF THE SQUARE GIVES THE RADIUS OF A
+CIRCUMFERENCE. THE DIAGONAL LINES GIVE AN OCTAGONAL STAR.</p>
+</div></div>
+
+<p class="ills"><a name="ill_232" id="ill_232"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-232_lg.jpg">
+<img src="images/pattern-232_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 46 SQUARE PLAN. FROM THE CENTRE A CIRCUMFERENCE, AND BY
+DIAGONALS A STARRED OCTAGON.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_518" id="page_518">{518}</a></span></p>
+
+<p class="ills"><a name="ill_233" id="ill_233"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-233_lg.jpg">
+<img src="images/pattern-233_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 47 CURVILINEAR AND UNDULATING OCTAGONS AND PENTAGONS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_234" id="ill_234"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-234_lg.jpg">
+<img src="images/pattern-234_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 48 DISTRIBUTION OF STARRED AND REGULAR OCTAGONS, WITH
+STARRED PENTAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_519" id="page_519">{519}</a></span></p>
+
+<p class="ills"><a name="ill_235" id="ill_235"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-235_lg.jpg">
+<img src="images/pattern-235_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 49 OCTAGONAL ROSETTES FOLLOWING ISOCELES TRIANGLE WITH
+PENTAGONAL STARS AND REGULAR OCTAGONS INTERCALARY.</p>
+</div></div>
+
+<p class="ills"><a name="ill_236" id="ill_236"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-236_lg.jpg">
+<img src="images/pattern-236_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 50 DESCRIBE CIRCUMFERENCES AS SHOWN IN PLAN, IN WHICH ARE
+CARRIED DIAGONALS. FROM THE CENTRE INSCRIBE A SQUARE. THE INTERSECTIONS
+OF THE LINES OF THE STAR COMPLETE THE FIGURE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_520" id="page_520">{520}</a></span></p>
+
+<p class="ills"><a name="ill_237" id="ill_237"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-237_lg.jpg">
+<img src="images/pattern-237_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 51 DESCRIBE CIRCUMFERENCES EQUAL AND TANGENT, AND DIVIDE
+INTO SIXTEEN EQUAL PARTS. BY THE ANGLES OF DIVISION DESCRIBE A PENTAGON
+STARRED. BY THE CENTRE OF THE SQUARE AN OCTAGON STARRED, FROM WHICH
+EMANATES AN OCTAGON ROSETTE. HEXAGONS REGULAR AND STARRED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_238" id="ill_238"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-238_lg.jpg">
+<img src="images/pattern-238_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 52 DIVIDE TANGENT CIRCUMFERENCES INTO SIXTEEN EQUAL
+PARTS. SIMILAR DISPOSITION TO FIGURE NUMBER 49, BUT WITH DIFFERENT
+TREATMENT.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_521" id="page_521">{521}</a></span></p>
+
+<p class="ills"><a name="ill_239" id="ill_239"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-239_lg.jpg">
+<img src="images/pattern-239_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 53 DESCRIBE CIRCUMFERENCES AS IN PLAN; INSCRIBE THEREIN
+BY THE DIAGONALS A STAR, THE SIDES OF WHICH, PROLONGED AND INTERSECTED
+BY THE OCTAGONAL STAR, DETERMINE THE ROSETTES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_240" id="ill_240"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-240_lg.jpg">
+<img src="images/pattern-240_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 54 DIVIDE CIRCUMFERENCES AS IN PLAN INTO THIRTY-TWO EQUAL
+PARTS. FROM THE CENTRE OF THE SQUARE INSCRIBE A STAR OF SIXTEEN POINTS,
+THE PROLONGATION OF ITS LINES FORMING THE ROSETTE OF SIXTEEN.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_522" id="page_522">{522}</a></span></p>
+
+<p class="ills"><a name="ill_241" id="ill_241"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-241_lg.jpg">
+<img src="images/pattern-241_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 55 DESCRIBE CIRCUMFERENCES AS IN PLAN. FROM THE CENTRE OF
+THE PLAN BY RADIATING LINES INSCRIBE A STARRED OCTAGON; THE PROLONGATION
+AND MEETING OF ITS LINES IN REPETITION COMPLETE THE FIGURE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_242" id="ill_242"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-242_lg.jpg">
+<img src="images/pattern-242_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 56 DESCRIBE CIRCUMFERENCES AS IN PLAN. IN THE CENTRE OF
+FOUR EQUAL SQUARES TRACE AN OCTAGONAL ROSETTE, AFTER HAVING TAKEN IN THE
+LARGE ROSETTE OF SIXTEEN POINTS, WHICH LENDS ITS LINES TO THE FORMATION
+OF EIGHT SURROUNDING CRUCIFORM FIGURES.</p>
+</div></div>
+
+<p><a name="plt_LXXVIII" id="plt_LXXVIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXVIII.</p></div>
+<a href="images/ill_274_lg.jpg">
+<img src="images/ill_274_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>SEVILLE.</p>
+
+<p>Socle of the Entrance Arch to the Chapel.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_523" id="page_523">{523}</a></span></p>
+
+<p class="ills"><a name="ill_243" id="ill_243"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-243_lg.jpg">
+<img src="images/pattern-243_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 57 FROM THE CENTRE OF FOUR EQUAL SQUARES DESCRIBE
+CIRCUMFERENCES AS IN PLAN. INSCRIBE THEREIN THE STARRED OCTAGON, THE
+PROLONGED SIDES OF WHICH DETERMINE THE QUADRILATERAL ROSETTE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_244" id="ill_244"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-244_lg.jpg">
+<img src="images/pattern-244_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 58 THE SQUARE OF DISTRIBUTION IS A RECTANGLE LENGTHENED,
+FROM WHICH OCTAGONS ARE TRACED. TERNARY STARS, YET WITH SIX POINTS, AND
+PAIRED STARS WITH FIVE POINTS FILL IN THE RECTANGLE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_524" id="page_524">{524}</a></span></p>
+
+<p class="ills"><a name="ill_245" id="ill_245"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-245_lg.jpg">
+<img src="images/pattern-245_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 59 DESIGN OF FOUR FIGURES. AN OCTAGON, A HEXAGON PAIRED,
+A STARRED PENTAGON, AND A STARRED HEXAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_246" id="ill_246"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-246_lg.jpg">
+<img src="images/pattern-246_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 60 ANALOGOUS TO NUMBER 58, WITH CLOSER DEVELOPMENT.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_525" id="page_525">{525}</a></span></p>
+
+<p class="ills"><a name="ill_247" id="ill_247"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-247_lg.jpg">
+<img src="images/pattern-247_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 61 A STARRED OCTAGON, THE PROLONGED LINES OF WHICH FORM
+AN OCTAGONAL ROSETTE, SEPARATED BY A REGULAR HEXAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_248" id="ill_248"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-248_lg.jpg">
+<img src="images/pattern-248_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 62 DIVIDE CIRCUMFERENCES AS IN PLAN INTO SIXTEEN EQUAL
+PARTS. THE DIAGONALS WILL GIVE A STAR OF SIXTEEN POINTS, THE LINES OF
+WHICH, EXTENDED, FORM A ROSETTE OF SIXTEEN POINTS WITHIN A SQUARE. THE
+ANGLES OF THE SQUARE INTERSECT REGULAR HEXAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_526" id="page_526">{526}</a></span></p>
+
+<p class="ills"><a name="ill_249" id="ill_249"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-249_lg.jpg">
+<img src="images/pattern-249_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 63 DESCRIBE THE CIRCUMFERENCES AS IN THE PLAN. INSCRIBE
+FROM A CENTRE A STARRED OCTAGON ENCLOSED WITHIN A REGULAR OCTAGON, A
+STARRED HEXAGON WITHIN ALTERNATE HEXAGONS, AND A CRUCIFORM FIGURE WITHIN
+A FOUR-POINTED STAR.</p>
+</div></div>
+
+<p class="ills"><a name="ill_250" id="ill_250"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-250_lg.jpg">
+<img src="images/pattern-250_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 63’ DESCRIBE CIRCUMFERENCES AS IN THE PLAN, AND FROM A
+CENTRE INSCRIBE A STARRED OCTAGON; FROM THE EXTENDED LINES IS FORMED A
+CRUCIFORM FIGURE. FROM OTHER CENTRES INSCRIBE STARRED AND REGULAR
+HEXAGONS.</p>
+</div></div>
+
+<p><a name="plt_LXXIX" id="plt_LXXIX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXIX.
+
+SEVILLE.</p></div>
+<a href="images/ill_279_lg.jpg">
+<img src="images/ill_279_sml.jpg" width="488" height="407" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Detail of the Tiles of the Altar.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_527" id="page_527">{527}</a></span></p>
+
+<p class="ills"><a name="ill_251" id="ill_251"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-251_lg.jpg">
+<img src="images/pattern-251_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 64 DESCRIBE CIRCUMFERENCES AS IN THE PLAN. FROM A CENTRE
+INSCRIBE A STARRED OCTAGON OF WHICH THE SIDES ARE PROLONGED. BY THESE
+PROLONGATIONS, AND BY OCTAGONAL FIGURES IN PAIRS, THE TRACING IS
+COMPLETE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_252" id="ill_252"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-252_lg.jpg">
+<img src="images/pattern-252_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 65 DIVIDE CIRCUMFERENCES AS IN THE PLAN INTO TWENTY-FOUR
+EQUAL PARTS, AND INSCRIBE FROM A CENTRE A STARRED DODECAGON, THE
+EXTENDED LINES OF WHICH DETERMINE THE INTERSECTING LINES OF THE
+ROSETTE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_528" id="page_528">{528}</a></span></p>
+
+<p class="ills"><a name="ill_253" id="ill_253"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-253_lg.jpg">
+<img src="images/pattern-253_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 66 DESCRIBE CIRCUMFERENCES AS IN THE PLAN. FROM A CENTRE
+INSCRIBE A STARRED DODECAGON ANALOGOUS TO NUMBER 65.</p>
+</div></div>
+
+<p class="ills"><a name="ill_254" id="ill_254"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-254_lg.jpg">
+<img src="images/pattern-254_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 67 TRIANGULAR PLAN. DESCRIBE CIRCUMFERENCES AS IN THE
+PLAN. FROM A CENTRE INSCRIBE A STARRED DODECAGON, THE EXTENDED LINES OF
+WHICH FORM THE UNEQUAL LIMBS OF A ROSETTE, AND A CRUCIFORM FIGURE WITHIN
+A SQUARE.</p>
+</div></div>
+
+<p><a name="plt_LXXX" id="plt_LXXX"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXX.<br />SEVILLE.</p></div>
+<a href="images/ill_282_lg.jpg">
+<img src="images/ill_282_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Socle in the Interior of the Chapel.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_529" id="page_529">{529}</a></span></p>
+
+<p class="ills"><a name="ill_255" id="ill_255"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-255_lg.jpg">
+<img src="images/pattern-255_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 68 DIVIDE AS IN THE PLAN. INSCRIBE A STARRED DODECAGON,
+THE SIDES OF WHICH PROLONGED INSCRIBE THE LINES OF THE ROSETTE. FOUR
+ROSETTES PENETRATE EACH OTHER, AND ARE EACH INVADED BY A STAR HAVING
+TRIANGULAR WEBS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_256" id="ill_256"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-256_lg.jpg">
+<img src="images/pattern-256_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 69 FROM A CENTRE AS IN THE PLAN DESCRIBE A STARRED
+DODECAGON, THE SIDES OF WHICH PROLONGED FORM THE LINES OF THE ROSETTE.
+THE ROSETTE, BY EXTENDING LINES, IS SURROUNDED BY TWELVE HEXAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_530" id="page_530">{530}</a></span></p>
+
+<p class="ills"><a name="ill_257" id="ill_257"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-257_lg.jpg">
+<img src="images/pattern-257_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 70 DIVIDE AS IN THE PLAN. DESIGN ANALOGOUS TO NUMBER 69.
+BY EXTENSION OF LINES OF THE ROSETTE HEXAGONS ARE GROUPED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_258" id="ill_258"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-258_lg.jpg">
+<img src="images/pattern-258_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 71 DIVIDE AS IN PLAN. DESIGN ANALOGOUS TO NUMBER 70.</p>
+</div></div>
+
+<p><a name="plt_LXXXI" id="plt_LXXXI"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXXI.<br />SEVILLE.</p></div>
+<a href="images/ill_285_lg.jpg">
+<img src="images/ill_285_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+
+
+<p>Socle in the Interior of the Chapel.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_531" id="page_531">{531}</a></span></p>
+
+<p class="ills"><a name="ill_259" id="ill_259"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-259_lg.jpg">
+<img src="images/pattern-259_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 72 DIVIDE AS IN PLAN. THE CIRCUMFERENCES DIVIDED INTO
+TWENTY-FOUR EQUAL PARTS DETERMINE THE ROSETTE, THE EXTENDED LINES OF
+WHICH DESCRIBE THE STARRED PENTAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_260" id="ill_260"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-260_lg.jpg">
+<img src="images/pattern-260_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 73 CURVILINEAR TRANSFORMATION OF NUMBER 72 BY THE
+SUBSTITUTION OF ARCS FOR RECTILINEAL FEATURES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_532" id="page_532">{532}</a></span></p>
+
+<p class="ills"><a name="ill_261" id="ill_261"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-261_lg.jpg">
+<img src="images/pattern-261_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 74 DIVIDE THE CIRCUMFERENCES INTO TWENTY-FOUR EQUAL
+PARTS. INSCRIBE THE STARRED DODECAGON, THE EXTENDED LINES OF WHICH
+DESCRIBE THE ROSETTE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_262" id="ill_262"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-262_lg.jpg">
+<img src="images/pattern-262_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 75 DESCRIBE THREE CONCENTRIC CIRCUMFERENCES AS IN PLAN.
+THE ROSETTE BECOMES ENTIRE BY LINES EXTENDED FROM THE STARRED DODECAGON.
+CROSSED LINES FROM THE ROSETTE DETERMINE THE SQUARE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_533" id="page_533">{533}</a></span></p>
+
+<p class="ills"><a name="ill_263" id="ill_263"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-263_lg.jpg">
+<img src="images/pattern-263_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 76 TRANSFORMATION OF NUMBER 75. ROSETTE IDENTICAL. IN THE
+CENTRE OF A SQUARE DESCRIBE AN OCTAGON, THE PROLONGED SIDES OF WHICH
+INVADE THE SQUARE WHICH FIGURES AROUND THE ROSETTE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_264" id="ill_264"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-264_lg.jpg">
+<img src="images/pattern-264_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 77 DIVIDE AS IN PLAN. FROM A CENTRE TRACE A STARRED
+HEXAGON, THE EXTENDED LINES OF WHICH CUT THE PROLONGED LINES OF THE
+ROSETTE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_534" id="page_534">{534}</a></span></p>
+
+<p class="ills"><a name="ill_265" id="ill_265"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-265_lg.jpg">
+<img src="images/pattern-265_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 78 DESCRIBE CIRCUMFERENCES AS IN PLAN. FROM A CENTRE
+TRACE A STARRED DODECAGON. THUS ARE DETERMINED ROSETTES PLACED END TO
+END, EACH IN A REGULAR HEXAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_266" id="ill_266"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-266_lg.jpg">
+<img src="images/pattern-266_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 79 DESCRIBE CIRCUMFERENCES AS IN PLAN. THE ROSETTE IS
+DETERMINED BY THE STARRED DODECAGON. THIS DESIGN IS MOST DIVERSIFIED,
+AND CAPABLE OF EXHAUSTIVE FORMS OF ORNAMENT.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_535" id="page_535">{535}</a></span></p>
+
+<p class="ills"><a name="ill_267" id="ill_267"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-267_lg.jpg">
+<img src="images/pattern-267_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 80 FROM A CENTRE DRAW A STARRED DODECAGON, WHICH
+DETERMINES THE ROSETTE, THE CROSSED LINES AT THE POINTS OF THE ROSETTE
+DETERMINING THE MANY REGULAR HEXAGONS AND <i>tricèles</i>.</p>
+</div></div>
+
+<p class="ills"><a name="ill_268" id="ill_268"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-268_lg.jpg">
+<img src="images/pattern-268_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 81 HEXAGONAL DISTRIBUTION. FROM A CENTRE DRAW A STARRED
+DODECAGON DETERMINING THE ROSETTE, THE ALTERNATELY CROSSED LINES OF
+WHICH FORM A <i>tricèle</i>, WITHIN A SECOND CIRCUMFERENCE, AS IN THE PLAN,
+DRAW A STARRED HEXAGON, THE EXTENDED LINES FORMING SIX REGULAR
+HEXAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_536" id="page_536">{536}</a></span></p>
+
+<p class="ills"><a name="ill_269" id="ill_269"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-269_lg.jpg">
+<img src="images/pattern-269_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 82 FROM A CENTRE A STARRED DODECAGON. THE LINES EXTENDED
+FORM AN OUTER STARRED DODECAGON, AND BY CROSSING DESCRIBES A STARRED
+HEXAGON AND A LOZENGE, WITHIN WHICH IS A CRUCIFORM FIGURE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_270" id="ill_270"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-270_lg.jpg">
+<img src="images/pattern-270_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 82’ THE RADIUS OF THE CIRCUMFERENCE IS EQUAL TO A THIRD
+OF THE HEIGHT OF THE TRIANGLE, AND THE SQUARE MAKES A STAR OF FOUR
+POINTS AT EACH ANGLE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_537" id="page_537">{537}</a></span></p>
+
+<p class="ills"><a name="ill_271" id="ill_271"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-271_lg.jpg">
+<img src="images/pattern-271_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 83 DRAW CIRCUMFERENCES AND DIVIDE AS IN PLAN. THE STARRED
+DODECAGON DETERMINED BY INTERTWINED SQUARES. THE LINES OF THE DODECAGON,
+EXTENDED AT INTERVALS, FORM A STAR OF FOUR POINTS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_272" id="ill_272"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-272_lg.jpg">
+<img src="images/pattern-272_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 84 DESCRIBE CIRCUMFERENCES AS IN PLAN. FROM A CENTRE AN
+INNER AND OUTER STARRED DODECAGON, THE LINES OF WHICH EXTENDED FORM A
+STARRED AND REGULAR HEXAGON, INCLUDING A STARRED OCTAGON WHICH MERGES
+INTO A CRUCIFORM FIGURE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_538" id="page_538">{538}</a></span></p>
+
+<p class="ills"><a name="ill_273" id="ill_273"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-273_lg.jpg">
+<img src="images/pattern-273_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 85 TRACE THE NET-WORK OF THE DODECAGON, THE HEXAGON, AND
+THE FOUR-POINTED STARS. FOLLOW DIAGONALS AS IN PLAN.</p>
+</div></div>
+
+<p class="ills"><a name="ill_274" id="ill_274"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-274_lg.jpg">
+<img src="images/pattern-274_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 86 DRAW CIRCUMFERENCES AS IN PLAN. FROM A CENTRE AN INNER
+AND OUTER STARRED DODECAGON. EXTENDED LINES OF THE INNER DODECAGON FORM
+SIX SQUARES WHICH INVADE A REGULAR DODECAGON.</p>
+</div></div>
+
+<p><a name="plt_LXXXII" id="plt_LXXXII"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_294_lg.jpg">
+<img src="images/ill_294_sml.jpg" width="546" height="412" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>PLATE LXXXII.
+
+Mosaics from Various Halls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_539" id="page_539">{539}</a></span></p>
+
+<p class="ills"><a name="ill_275" id="ill_275"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-275_lg.jpg">
+<img src="images/pattern-275_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 87 SQUARE PLAN. AN INNER AND OUTER STARRED DODECAGON, AND
+A REGULAR DODECAGON BY DIAGONALS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_276" id="ill_276"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-276_lg.jpg">
+<img src="images/pattern-276_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 88 SQUARE PLAN. DESCRIBE CIRCUMFERENCES AND DIVIDE THEM
+INTO TWENTY-FOUR EQUAL PARTS, AND DRAW THE DIAGONALS OF EIGHT IN EIGHT
+DIVISIONS. THE REST FOLLOWS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_540" id="page_540">{540}</a></span></p>
+
+<p class="ills"><a name="ill_277" id="ill_277"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-277_lg.jpg">
+<img src="images/pattern-277_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 89: NET-WORK OF THE DODECAGON AND THE TRIANGLE ASSEMBLED.
+BY EXTENDED LINES OF THE STARRED DODECAGON AN IRREGULAR POLYGON, AND A
+ROSETTE OF TWELVE LIMBS ARE FORMED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_278" id="ill_278"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-278_lg.jpg">
+<img src="images/pattern-278_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 90: ISOCELES PLAN. A CIRCUMFERENCE IS DRAWN IN A SQUARE
+AND DIVIDED INTO TWENTY-FOUR EQUAL PARTS. A CIRCUMFERENCE, CONCENTRIC TO
+THE FIRST, COMPLETES THE ROSETTE BY MEANS OF DIAGONALS. THE SMALL
+HEXAGON AND THE OCTAGON ARE TRACED.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_541" id="page_541">{541}</a></span></p>
+
+<p class="ills"><a name="ill_279" id="ill_279"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-279_lg.jpg">
+<img src="images/pattern-279_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 91: DESCRIBE CIRCUMFERENCE AND DIVIDE INTO TWENTY-FOUR
+EQUAL PARTS. THE REGULAR DODECAGON IS DRAWN. THE INNER AND OUTER STARRED
+DODECAGONS ARE DESCRIBED BY RADIATING LINES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_280" id="ill_280"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-280_lg.jpg">
+<img src="images/pattern-280_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 92: NET-WORK OF THE HEXAGON AND THE TRIANGLE. THE ROSETTE
+OF TWELVE POINTS SPRINGING FROM A STARRED DODECAGON IS ENCLOSED BY A
+HEXAGON, TRELLISED, FROM WHICH THE <i>tricèles</i> ARE DRAWN.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_542" id="page_542">{542}</a></span></p>
+
+<p class="ills"><a name="ill_281" id="ill_281"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-281_lg.jpg">
+<img src="images/pattern-281_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 93: OF SIMILAR INTENTION TO NUMBER 92, BUT AN IRREGULAR
+HEXAGON RECEIVES INTERCALARY LOZENGES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_282" id="ill_282"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-282_lg.jpg">
+<img src="images/pattern-282_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 94: TRIANGULAR PLAN. TRACED BY TRELLISED NET-WORK. THE
+HEXAGON ENVELOPED IN SPIRALS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_543" id="page_543">{543}</a></span></p>
+
+<p class="ills"><a name="ill_283" id="ill_283"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-283_lg.jpg">
+<img src="images/pattern-283_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 95: TRIANGULAR PLAN. HEXAGON ENVELOPED IN SPIRALS.
+ANALOGOUS TO NUMBER 94.</p>
+</div></div>
+
+<p class="ills"><a name="ill_284" id="ill_284"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-284_lg.jpg">
+<img src="images/pattern-284_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 96: NET-WORK OF THE OCTAGON, HEXAGON, AND CIRCLE,
+ASSEMBLED. FROM THE STARRED OCTAGONS A CURVILINEAL ROSETTE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_544" id="page_544">{544}</a></span></p>
+
+<p class="ills"><a name="ill_285" id="ill_285"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-285_lg.jpg">
+<img src="images/pattern-285_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 97: SQUARE PLAN. STARS AND ROSETTES. DESCRIBE
+CIRCUMFERENCES AS INDICATED. THE OCTAGONAL STARS RECEIVE THE EXTENDED
+LINES OF THE HEXAGONAL AND PENTAGONAL STARS. THE REST FOLLOWS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_286" id="ill_286"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-286_lg.jpg">
+<img src="images/pattern-286_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 98: DIVIDE CIRCUMFERENCES AS IN THE PLAN. FROM THE CENTRE
+OF THE HEXAGONAL ROSETTE DESCRIBE A CIRCUMFERENCE TANGENT TO THE FIRST,
+AND DIVIDE INTO TWELVE PARTS. BY THE AID OF THE PENTAGON COMPRISED
+COMPLETE THE ROSETTE; THEN, DEPENDING ON THE PENTAGON&mdash;WHICH, THOUGH
+IRREGULAR, RULES ALL&mdash;TRACE THE PENTAGONAL FIGURE WHICH STANDS ON THE
+POINTS OF THE ROSETTES.</p>
+</div></div>
+
+<p><a name="plt_LXXXIII" id="plt_LXXXIII"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXXIII.</p></div>
+<a href="images/ill_301_lg.jpg">
+<img src="images/ill_301_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Mosaics from Various Halls.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_545" id="page_545">{545}</a></span></p>
+
+<p class="ills"><a name="ill_287" id="ill_287"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-287_lg.jpg">
+<img src="images/pattern-287_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 99 ISOCELES PLAN. DIVIDE THE SPACE SURROUNDING THE ACUTE
+APICES OF THE LOZENGE INTO TWENTY EQUAL PARTS, AND OF THE OBTUSE APICES
+INTO SIXTEEN. IN THE ONE DRAW A STARRED DECAGONAL, AND IN THE OTHER A
+STARRED OCTAGONAL ROSETTE. THE ADJUSTMENT OF TWO TYPES SO DIFFERENT IS
+NOT CONSIDERED SUCCESSFUL.</p>
+</div></div>
+
+<p class="ills"><a name="ill_288" id="ill_288"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-288_lg.jpg">
+<img src="images/pattern-288_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 100 DIAGRAM OF THE DODECAGON, HEXAGON AND SQUARE. IN THE
+CENTRE OF THE SQUARE A REGULAR OCTAGON, WHICH IS SUPREME. THEN FROM THE
+STARRED DODECAGON INSCRIBE A ROSETTE OF TWELVE POINTS; LASTLY, FROM THE
+STARRED HEXAGON INSCRIBE A ROSETTE OF SIX POINTS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_546" id="page_546">{546}</a></span></p>
+
+<p class="ills"><a name="ill_289" id="ill_289"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-289_lg.jpg">
+<img src="images/pattern-289_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 101 DIVIDE THE CIRCUMFERENCES AS IN THE PLAN, THE ONE
+INTO TWENTY-FOUR AND THE OTHER INTO TWELVE EQUAL PARTS. FOR THE REST,
+THE CENTRES BEING INDICATED, IT IS EASY TO TRACE THE ARCS, AND SO
+COMPLETE THE FIGURE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_290" id="ill_290"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-290_lg.jpg">
+<img src="images/pattern-290_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 102 THE LOZENGE AND TRELLISED ROSETTE EMANATING FROM
+STARRED HEXAGON, ALTERNATING ROW BY ROW WITH DODECAGONAL ROSETTE
+SPRINGING FROM STARRED DODECAGON.</p>
+</div></div>
+
+<p><a name="plt_LXXXIV" id="plt_LXXXIV"></a></p>
+
+<div class="figcenter">
+<div class="captionss"><p>PLATE LXXXIV.</p></div>
+<a href="images/ill_304_lg.jpg">
+<img src="images/ill_304_sml.jpg" alt="[Image unavailable.]" /></a>
+<div class="caption">
+
+<p>Part of Ceiling of a Portico.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_547" id="page_547">{547}</a></span></p>
+
+<p class="ills"><a name="ill_291" id="ill_291"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-291_lg.jpg">
+<img src="images/pattern-291_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 103 DESCRIBE THE CIRCUMFERENCES AS IN PLAN. BY THE POINTS
+OF THE STARRED HEXAGON DESCRIBE A REGULAR HEXAGON. BY LINES EXTENDED
+FROM THE STARRED HEXAGON THE TWELVE-POINTED ROSETTE IS FORMED,
+CONSTRUCTING AT THE SAME TIME THE STARRED DODECAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_292" id="ill_292"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-292_lg.jpg">
+<img src="images/pattern-292_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 104 DESIGN ANALOGOUS TO NUMBER 103, BUT WITH CHANGE OF
+<i>motif</i>.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_548" id="page_548">{548}</a></span></p>
+
+<p class="ills"><a name="ill_293" id="ill_293"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-293_lg.jpg">
+<img src="images/pattern-293_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 105 SQUARE PLAN. DIVIDE AS INDICATED AND INSCRIBE A
+STARRED DODECAGON, THE EXTENDED LINES OF WHICH FORM AN OUTER STAR ALSO
+OF TWELVE POINTS; THE STARRED OCTAGON IS CONSTITUTED BY POINTS PROLONGED
+FROM THE DODECAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_294" id="ill_294"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-294_lg.jpg">
+<img src="images/pattern-294_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 106 SQUARE PLAN. SIMILAR GROUND-WORK TO THAT OF NUMBER
+105. THE DODECAGONAL AND OCTAGONAL ROSETTES ARE DESCRIBED BY CONCENTRIC
+CIRCUMFERENCES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_549" id="page_549">{549}</a></span></p>
+
+<p class="ills"><a name="ill_295" id="ill_295"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-295_lg.jpg">
+<img src="images/pattern-295_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 107 SQUARE PLAN. SIMILAR GROUND-WORK TO NUMBERS 105 AND
+106. THE TREATMENT CONSIDERABLY CHANGED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_296" id="ill_296"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-296_lg.jpg">
+<img src="images/pattern-296_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 108 SQUARE PLAN. SUB-DIVIDE AS INDICATED. INSCRIBE THE
+PENTAGON, THE EXTENDED LINES OF WHICH ESTABLISH THE OCTAGONAL STAR AND
+ROSETTE, AS WELL AS THE DODECAGONAL ROSETTE AND STAR.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_550" id="page_550">{550}</a></span></p>
+
+<p class="ills"><a name="ill_297" id="ill_297"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-297_lg.jpg">
+<img src="images/pattern-297_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 109 SQUARE PLAN. DIVIDE AS INDICATED. THE FLOWER-WORK
+WHICH ACCOMPANIES THE IRREGULAR OCTAGON, THOUGH INDEPENDENT OF GEOMETRIC
+CONSTRUCTION, IS YET WITHIN THE PROPULSION OF THE LINES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_298" id="ill_298"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-298_lg.jpg">
+<img src="images/pattern-298_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 110 GROUND-WORK ANALOGOUS TO NUMBER 108, BUT ON A
+TRIANGULAR PLAN. THE EXTENDED LINES OF THE PENTAGON GOVERN THE
+ENNEAGONAL AND DODECAGONAL STAR AND ROSETTE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_551" id="page_551">{551}</a></span></p>
+
+<p class="ills"><a name="ill_299" id="ill_299"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-299_lg.jpg">
+<img src="images/pattern-299_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 111 CURVILINEAR TRANSFORMATION OF NUMBER 110.</p>
+</div></div>
+
+<p class="ills"><a name="ill_300" id="ill_300"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-300_lg.jpg">
+<img src="images/pattern-300_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 112 TRIANGULAR PLAN. DISTRIBUTION OF ENNEAGONAL AND
+DODECAGONAL STARS AND ROSETTES. [THE DODECAGON ONLY PARTIALLY
+DISPLAYED.]</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_552" id="page_552">{552}</a></span></p>
+
+<p class="ills"><a name="ill_301" id="ill_301"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-301_lg.jpg">
+<img src="images/pattern-301_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 113 TRIANGULAR PLAN. SIMILAR CONSTRUCTION TO NUMBER 112.
+THE DODECAGONAL STAR, ROSETTE, AND OUTER STAR, WHICH ARE IN THE DIAGRAM
+NUMBER 112 ONLY PARTIALLY SEEN, ARE HERE DISPLAYED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_302" id="ill_302"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-302_lg.jpg">
+<img src="images/pattern-302_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 114 TRIANGULAR PLAN. FROM A CENTRE AS IN PLAN DESCRIBE
+CIRCUMFERENCES, WHICH RULE THE DODECAGONAL STAR, ROSETTE, AND OUTER
+STAR. MANY OF THE FIGURES ARE DRAWN INDEPENDENTLY, THOUGH GOVERNED BY
+DIVISIONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_553" id="page_553">{553}</a></span></p>
+
+<p class="ills"><a name="ill_303" id="ill_303"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-303_lg.jpg">
+<img src="images/pattern-303_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 115 DIVIDE AS IN PLAN. INSCRIBE A DECAGONAL ROSETTE, FROM
+THE PROLONGED LINES OF WHICH PROCEED THE PENTAGONAL STAR, THE REGULAR
+OCTAGON, AND OTHER FIGURES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_304" id="ill_304"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-304_lg.jpg">
+<img src="images/pattern-304_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 116 DIVIDE AS IN PLAN. TWO DIFFERENT ROSETTES, ONE OF
+TWELVE AND THE OTHER OF FIFTEEN POINTS. [THE DODECAGONAL ROSETTE IS,
+HOWEVER, ONLY PARTIALLY SHOWN HERE.]</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_554" id="page_554">{554}</a></span></p>
+
+<p class="ills"><a name="ill_305" id="ill_305"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-305_lg.jpg">
+<img src="images/pattern-305_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 117 DESCRIBE CIRCUMFERENCES AND TRACE ROSETTE OF SIXTEEN
+POINTS. THE LINES EXTENDED WILL COMPLETE THE FIGURE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_306" id="ill_306"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-306_lg.jpg">
+<img src="images/pattern-306_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 118 CURVILINEAR TRANSFORMATION OF NUMBER 117.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_555" id="page_555">{555}</a></span></p>
+
+<p class="ills"><a name="ill_307" id="ill_307"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-307_lg.jpg">
+<img src="images/pattern-307_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 119 DIVIDE AS INDICATED, AND THE RESULTING ROSETTE OF
+SIXTEEN POINTS, WHICH WOULD NATURALLY BE RECTILINEAR, MAY BE EASILY
+TRANSFORMED TO CURVILINEAR; WHILE THE PENTAGONAL STARS, TREATED IN
+UNDULATING FORM, BECOME FLOWER-WORK OR FOLIAGE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_308" id="ill_308"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-308_lg.jpg">
+<img src="images/pattern-308_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 120 SAME GROUND-WORK AS NUMBER 119. BUT HERE THE ROSETTE
+IS STARRED, END ON END, ABOUT THE POINTS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_556" id="page_556">{556}</a></span></p>
+
+<p class="ills"><a name="ill_309" id="ill_309"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-309_lg.jpg">
+<img src="images/pattern-309_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 121 SUB-DIVIDE AS IN PLAN. THE CIRCUMFERENCE GOVERNING
+THE HEPTAGON IS DIVIDED INTO EQUAL PARTS; BY PROLONGING THE SIDES OF THE
+HEPTAGON THE ROSETTE OF SIXTEEN POINTS IS INSCRIBED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_310" id="ill_310"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-310_lg.jpg">
+<img src="images/pattern-310_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 122 CIRCUMFERENCES TANGENT TO THOSE OF THE PENTAGON
+INSCRIBE THE ROSETTE OF SIXTEEN POINTS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_557" id="page_557">{557}</a></span></p>
+
+<p class="ills"><a name="ill_311" id="ill_311"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-311_lg.jpg">
+<img src="images/pattern-311_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 123 TRANSFORMATION OF THE RECTILINEAL ROSETTE NUMBER 122.
+THE FIGURES IN OTHER RESPECTS IDENTICAL.</p>
+</div></div>
+
+<p class="ills"><a name="ill_312" id="ill_312"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-312_lg.jpg">
+<img src="images/pattern-312_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 124 DIVIDE AS INDICATED. THE EXTENDED LINES OF THE
+HEXAGON INSCRIBE THE ROSETTE OF EIGHTEEN POINTS AND THAT OF NINE POINTS.
+THE REST IS BUT A MATTER OF ADJUSTMENT.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_558" id="page_558">{558}</a></span></p>
+
+<p class="ills"><a name="ill_313" id="ill_313"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-313_lg.jpg">
+<img src="images/pattern-313_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 125 DESIGN ANALOGOUS TO NUMBER 124. IN THIS ARRANGEMENT,
+TWO SIDES OF THE HEPTAGON PROLONGED DETERMINE THE ROSETTE OF EIGHTEEN
+AND THAT OF TWELVE POINTS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_314" id="ill_314"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-314_lg.jpg">
+<img src="images/pattern-314_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 126 SQUARE PLAN. DIVIDE AS INDICATED. INSCRIBE A ROSETTE
+OF TWENTY POINTS (THE HALF OF WHICH IS SHOWN IN THE DIAGRAM). IN A
+TANGENT CIRCUMFERENCE INSCRIBE THE ROSETTE OF TWELVE POINTS. THE REST
+FOLLOWS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_559" id="page_559">{559}</a></span></p>
+
+<p class="ills"><a name="ill_315" id="ill_315"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-315_lg.jpg">
+<img src="images/pattern-315_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 127 DISTRIBUTION OF THE DODECAGON, HEXAGON, AND SQUARE
+ASSEMBLED. BY THE MIDDLE POINTS OF THE SIDES OF THE DODECAGON INSCRIBE A
+STAR AND A ROSETTE OF TWENTY-FOUR POINTS. WITHIN THE HEXAGON INSCRIBE
+TWO TRIANGLES FROM A TANGENT CIRCUMFERENCE. A LOZENGE IS INSCRIBED
+BETWEEN OPPOSITE SIDES OF THE SQUARE. LASTLY, BY <i>tricèles révolvés</i>,
+ALL THE PROLONGED LINES ARE RECONCILED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_316" id="ill_316"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-316_lg.jpg">
+<img src="images/pattern-316_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 128 DISTRIBUTION OF THE DODECAGON, HEXAGON, AND SQUARE
+ASSEMBLED. IN THE DODECAGON INSCRIBE A ROSETTE OF TWENTY-FOUR POINTS; IN
+THE HEXAGON A ROSETTE OF TWELVE POINTS; AND, LASTLY, IN THE SQUARE A
+ROSETTE OF EIGHT POINTS. A LITTLE PENTAGONAL STAR RECONCILES THE
+PROLONGED LINES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_560" id="page_560">{560}</a></span></p>
+
+<p class="ills"><a name="ill_317" id="ill_317"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-317_lg.jpg">
+<img src="images/pattern-317_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 129 SUB-DIVIDE AS IN PLAN. DODECAGON, HEXAGON, AND SQUARE
+ASSEMBLED. IN THE DODECAGON A ROSETTE OF TWELVE POINTS. IN THE TANGENT
+CIRCUMFERENCE SIX HEXAGONS. THE SQUARE GOVERNS THE PROLONGED LINES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_318" id="ill_318"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-318_lg.jpg">
+<img src="images/pattern-318_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 130 THE ROSETTES ARE AS IN NUMBER 129. THE SMALLER
+HEXAGONS GOVERN THE PRINCIPAL FIGURES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_561" id="page_561">{561}</a></span></p>
+
+<p class="ills"><a name="ill_319" id="ill_319"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-319_lg.jpg">
+<img src="images/pattern-319_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 131 SQUARE PLAN; DISTRIBUTION FOLLOWS THE NET-WORK OF THE
+OCTAGON AND SQUARE. THE ROSETTE IS LINKED BY THE SMALLER OCTAGONS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_320" id="ill_320"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-320_lg.jpg">
+<img src="images/pattern-320_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 132 ANALOGOUS TO NUMBER 131.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_562" id="page_562">{562}</a></span></p>
+
+<p class="ills"><a name="ill_321" id="ill_321"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-321_lg.jpg">
+<img src="images/pattern-321_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 133 OCTAGONS AND SQUARES ASSEMBLED. THE OCTAGONAL ROSETTE
+GOVERNS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_322" id="ill_322"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-322_lg.jpg">
+<img src="images/pattern-322_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 134 SUB-DIVIDE AS INDICATED. DESCRIBE A CIRCLE IN WHICH
+IS INSCRIBED A STAR WITH SIDES PROLONGED, DETERMINING AN OCTAGONAL
+ROSETTE. BY CONCENTRIC CIRCLES, SOMEWHAT ARBITRARY, THE ROSETTE OF
+SIXTEEN POINTS IS DETERMINED.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_563" id="page_563">{563}</a></span></p>
+
+<p class="ills"><a name="ill_323" id="ill_323"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-323_lg.jpg">
+<img src="images/pattern-323_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 135 SUB-DIVIDE AS IN PLAN. IN A CIRCLE IS INSCRIBED AN
+OCTAGONAL ROSETTE, AND TAKE A TANGENT CIRCUMFERENCE IN WHICH TO INSCRIBE
+THE ROSETTE OF SIXTEEN POINTS. THE REST FOLLOWS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_324" id="ill_324"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-324_lg.jpg">
+<img src="images/pattern-324_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 136 DISTRIBUTION OF THE OCTAGON AND SQUARE. A CONCENTRIC
+CIRCLE CONTAINS ARCS COMPOSING A CURVILINEAR ROSETTE, WITHIN WHICH IS A
+ROSETTE OF FIVE POINTS. IN THE CENTRE OF THE SQUARE PLAN A CURVILINEAR
+ROSETTE ENCLOSING AN OCTAGONAL ROSETTE WITH SIDES PROLONGED, BRINGING
+INTO ACCORD THE PENTAGONAL ROSETTES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_564" id="page_564">{564}</a></span></p>
+
+<p class="ills"><a name="ill_325" id="ill_325"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-325_lg.jpg">
+<img src="images/pattern-325_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 137 SUB-DIVIDE THE MAIN CIRCLE INTO THIRTY-TWO EQUAL
+PARTS, AND INSCRIBE THE ROSETTE OF SIXTEEN POINTS. OTHER CIRCLES ARE
+INSCRIBED, EACH CONTAINING A PERFECT OCTAGON.</p>
+</div></div>
+
+<p class="ills"><a name="ill_326" id="ill_326"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-326_lg.jpg">
+<img src="images/pattern-326_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 138 NET-WORK OF OCTAGON AND SQUARE. INSCRIBE A ROSETTE OF
+EIGHT POINTS, AND IN A CIRCUMFERENCE TANGENT INSCRIBE A ROSETTE OF
+TWENTY-FOUR POINTS. THE ROSETTES ARE BROUGHT INTO ACCORD BY THE
+HEXAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_565" id="page_565">{565}</a></span></p>
+
+<p class="ills"><a name="ill_327" id="ill_327"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-327_lg.jpg">
+<img src="images/pattern-327_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 139 IN A CIRCUMFERENCE INDICATED IN THE SQUARE PLAN
+INSCRIBE THE OCTAGONAL ROSETTE. EXTENDED SIDES DETERMINE THE PERFECT
+OCTAGONS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_328" id="ill_328"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-328_lg.jpg">
+<img src="images/pattern-328_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 140 SQUARE PLAN. OCTAGONAL AND SQUARE DISTRIBUTION. TWO
+ROSETTES, ONE OF SIXTEEN AND ONE OF EIGHT POINTS. THE DIAGONALS FROM THE
+ANGLES OF THE PENTAGON COMPLETE THE ROSETTE OF SIXTEEN POINTS, AND THE
+EXTENDED SIDES OF THE PENTAGON DETERMINE THE OCTAGONAL ROSETTE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_566" id="page_566">{566}</a></span></p>
+
+<p class="ills"><a name="ill_329" id="ill_329"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-329_lg.jpg">
+<img src="images/pattern-329_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 141 SQUARE PLAN. NET-WORK OF THE OCTAGON AND SQUARE
+ASSEMBLED. DESCRIBE CIRCUMFERENCES AS IN THE PLAN. IN JOINING THE POINTS
+OF DIVISION, THERE IS ON THE ONE PART THE HEXAGON, AND ON THE OTHER PART
+THE ROSETTE OF SIXTEEN POINTS. THE <i>tricèle révolvé</i> ASSISTS IN
+ELUCIDATING THE NET-WORK.</p>
+</div></div>
+
+<p class="ills"><a name="ill_330" id="ill_330"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-330_lg.jpg">
+<img src="images/pattern-330_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 142 CURVILINEAR NET-WORK COMPOSED OF STARS OF FIVE, SIX,
+AND EIGHT POINTS. DESCRIBE THE CIRCUMFERENCES AS IN THE PLAN. ONE CIRCLE
+DESCRIBES THE STAR OF FIVE POINTS; ANOTHER CIRCLE INSCRIBES A
+CURVILINEAR IRREGULAR HEXAGON; STILL ANOTHER CIRCLE INSCRIBES A STAR OF
+EIGHT POINTS, AND THE LAST CIRCLE A STAR OF SIX POINTS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_567" id="page_567">{567}</a></span></p>
+
+<p class="ills"><a name="ill_331" id="ill_331"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-331_lg.jpg">
+<img src="images/pattern-331_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 143 SUB-DIVIDE AS INDICATED. THE PROLONGED LINES OF THE
+PENTAGONAL STAR DETERMINE THE DECAGONAL STAR AND ROSETTE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_332" id="ill_332"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-332_lg.jpg">
+<img src="images/pattern-332_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 144 DIVIDE AS IN THE PLAN. BY TANGENT CIRCUMFERENCES
+INSCRIBE THE ROSETTES. BY SIDES EXTENDED THE REST FOLLOWS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_568" id="page_568">{568}</a></span></p>
+
+<p class="ills"><a name="ill_333" id="ill_333"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-333_lg.jpg">
+<img src="images/pattern-333_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 145 OCTAGONAL, DECAGONAL, AND DODECAGONAL STARS AND
+ROSETTES. BY SIDES PROLONGED THE REST FOLLOWS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_334" id="ill_334"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-334_lg.jpg">
+<img src="images/pattern-334_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 146 OCTAGONAL, DECAGONAL, AND DODECAGONAL STARS AND
+ROSETTES. BY EXTENDED LINES AND THE ADJUSTMENT OF THE REGULAR OCTAGONS
+THE DIAGRAM IS COMPLETED.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_569" id="page_569">{569}</a></span></p>
+
+<p class="ills"><a name="ill_335" id="ill_335"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-335_lg.jpg">
+<img src="images/pattern-335_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 147 IN A CIRCUMFERENCE AS INDICATED INSCRIBE A STAR OF
+NINE POINTS, AND BY SIDES PROLONGED A ROSETTE OF NINE POINTS; IN A
+SECOND A STAR AND ROSETTE OF TWELVE POINTS; AND IN A THIRD CIRCUMFERENCE
+A STAR AND ROSETTE OF TEN POINTS. THE REST FOLLOWS BY EXTENSION.</p>
+</div></div>
+
+<p class="ills"><a name="ill_336" id="ill_336"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-336_lg.jpg">
+<img src="images/pattern-336_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 148 THE CENTRAL CIRCUMFERENCE DIVIDED INTO THIRTY-TWO
+EQUAL PARTS PRODUCES A STAR AND ROSETTE OF SIXTEEN POINTS. DIVIDE OTHER
+CIRCUMFERENCES TO PRODUCE STARS AND ROSETTES OF TWELVE AND TEN POINTS.
+THE REST FOLLOWS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_570" id="page_570">{570}</a></span></p>
+
+<p class="ills"><a name="ill_337" id="ill_337"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-337_lg.jpg">
+<img src="images/pattern-337_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 149 CIRCUMFERENCES DIVIDED AS INDICATED. INSCRIBE STARS
+OF NINE, TEN, AND TWELVE POINTS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_338" id="ill_338"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-338_lg.jpg">
+<img src="images/pattern-338_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 150 NET-WORK ANALOGOUS TO NUMBER 148. THE LINES OF THE
+HEPTAGON, EXTENDED, JOIN THE LINES OF THE ROSETTES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_571" id="page_571">{571}</a></span></p>
+
+<p class="ills"><a name="ill_339" id="ill_339"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-339_lg.jpg">
+<img src="images/pattern-339_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 151 THIS EXAMPLE EXHIBITS THE MARVELLOUS INGENUITY OF THE
+ARABIAN DESIGNER IN COMPOSITION, ROSETTES OF FIVE, SIX, SEVEN, AND EIGHT
+POINTS BEING ADJUSTED. THE DESIGN IS EVIDENTLY THE PRODUCTION OF AN
+ART-WORKMAN. IF THE NET-WORK IS NOT ACTUALLY PERFECT, IT APPROACHES
+PERFECTION SO NEARLY THAT IT MAY BE CONSIDERED EXACT.</p>
+</div></div>
+
+<p class="ills"><a name="ill_340" id="ill_340"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-340_lg.jpg">
+<img src="images/pattern-340_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 152 ISOCELES OR LOZENGE PLAN. THE ROSETTE OF FOURTEEN
+POINTS RESULT FROM THE EXTENDED LINES OF THE HEPTAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_572" id="page_572">{572}</a></span></p>
+
+<p class="ills"><a name="ill_341" id="ill_341"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-341_lg.jpg">
+<img src="images/pattern-341_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 153 ANALOGOUS TO NUMBER 152, BUT WITH DIAGONALS SOMEWHAT
+DIFFERENTLY TREATED.</p>
+</div></div>
+
+<p class="ills"><a name="ill_342" id="ill_342"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-342_lg.jpg">
+<img src="images/pattern-342_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 154 ROSETTE OF FOURTEEN POINTS GOVERNED BY HEPTAGONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_573" id="page_573">{573}</a></span></p>
+
+<p class="ills"><a name="ill_343" id="ill_343"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-343_lg.jpg">
+<img src="images/pattern-343_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 155 ROSETTE OF FOURTEEN POINTS FROM EXTENDED LINES OF THE
+HEPTAGONS. THE REST FOLLOWS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_344" id="ill_344"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-344_lg.jpg">
+<img src="images/pattern-344_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 156 PENTAGONAL ADJUSTMENT. A CIRCUMFERENCE TANGENT TO
+THOSE OF THE PENTAGON INSCRIBES A STARRED ROSETTE OF FOURTEEN POINTS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_574" id="page_574">{574}</a></span></p>
+
+<p class="ills"><a name="ill_345" id="ill_345"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-345_lg.jpg">
+<img src="images/pattern-345_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 157 BY A CONCENTRIC CIRCUMFERENCE IS INSCRIBED THE
+ROSETTE OF FOURTEEN POINTS. THE PENTAGON WHICH GOVERNS HAS ONE OF ITS
+SIDES EXTENDED TO GREATER LENGTH THAN THE SIX OTHERS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_346" id="ill_346"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-346_lg.jpg">
+<img src="images/pattern-346_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 158 BY THE AID OF A CIRCUMFERENCE, INDICATED, IS
+INSCRIBED THE HEPTAGONAL STAR FROM WHICH THE OTHER FIGURES PROCEED.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_575" id="page_575">{575}</a></span></p>
+
+<p class="ills"><a name="ill_347" id="ill_347"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-347_lg.jpg">
+<img src="images/pattern-347_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 159 DECAGONAL STARS AND ROSETTES, WITH INTERCALARY
+PENTAGONS. ALSO WITH INTERCALARY MESHES, WHICH ARE EQUAL TO THOSE OF THE
+ROSETTES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_348" id="ill_348"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-348_lg.jpg">
+<img src="images/pattern-348_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 160 ANALOGOUS TO NUMBER 159.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_576" id="page_576">{576}</a></span></p>
+
+<p class="ills"><a name="ill_349" id="ill_349"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-349_lg.jpg">
+<img src="images/pattern-349_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 161 SUB-DIVIDE THE SPACE SURROUNDING THE ISOCELES
+TRIANGLE AS INDICATED. THE CIRCUMFERENCES BEING DESCRIBED. THE DIAGONALS
+EXTENDED COMPLETE THE FIGURE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_350" id="ill_350"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-350_lg.jpg">
+<img src="images/pattern-350_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 162 PLAN AND CIRCUMFERENCES THE SAME AS NUMBER 161. THE
+AID OF A CONCENTRIC CIRCUMFERENCE IS CALLED IN TO FORM THE ROSETTE OF
+TEN POINTS. THE REST FOLLOWS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_577" id="page_577">{577}</a></span></p>
+
+<p class="ills"><a name="ill_351" id="ill_351"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-351_lg.jpg">
+<img src="images/pattern-351_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 163 DESCRIBE EQUAL AND TANGENT CIRCUMFERENCES TO FORM A
+STAR OF TEN POINTS, AND TAKE THE DIAGONALS OF SIX IN SIX DIVISIONS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_352" id="ill_352"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-352_lg.jpg">
+<img src="images/pattern-352_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 164 DESCRIBE CIRCUMFERENCES AS INDICATED, AND TAKE THE
+DIAGONALS OF SIX IN SIX DIVISIONS. DRAW A HORIZONTAL LINE AT THE HIGHER
+LINE OF THE LITTLE PENTAGON, AND REPEAT THE CONSTRUCTION BELOW THE
+LINE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_578" id="page_578">{578}</a></span></p>
+
+<p class="ills"><a name="ill_353" id="ill_353"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-353_lg.jpg">
+<img src="images/pattern-353_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 165 DIVIDE CIRCUMFERENCES AND DRAW PARALLEL LINES AS
+INDICATED. TAKE THE DIAGONALS OF SIX IN SIX DIVISIONS, AND THE REST
+FOLLOWS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_354" id="ill_354"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-354_lg.jpg">
+<img src="images/pattern-354_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 166 DESCRIBE CIRCUMFERENCES EQUAL AND TANGENT, AND TAKE
+THE DIAGONALS OF FOUR IN FOUR DIVISIONS; THEN IN THE CONCENTRIC
+CIRCUMFERENCES TAKE THE DIAGONALS OF SIX IN SIX DIVISIONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_579" id="page_579">{579}</a></span></p>
+
+<p class="ills"><a name="ill_355" id="ill_355"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-355_lg.jpg">
+<img src="images/pattern-355_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 167 SUB-DIVIDE AS IN PLAN. INSCRIBE THE ROSETTE OF TEN
+POINTS; THE LITTLE PENTAGONS AND LOZENGES FOLLOW, AND THE REST FOLLOWS.</p>
+</div></div>
+
+<p class="ills"><a name="ill_356" id="ill_356"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-356_lg.jpg">
+<img src="images/pattern-356_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 168 ANALOGOUS TO NUMBER 167, BUT IN PLACE OF THE ROSETTE
+STARS ARE FORMED.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_580" id="page_580">{580}</a></span></p>
+
+<p class="ills"><a name="ill_357" id="ill_357"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-357_lg.jpg">
+<img src="images/pattern-357_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 169 CURVILINEAR TRANSFORMATION OF NUMBERS 167 AND 168.
+THE POINTS OF CENTRAL DISTRIBUTION ARE MARKED BY MINUTE CROSSES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_358" id="ill_358"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-358_lg.jpg">
+<img src="images/pattern-358_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 170 SIMILAR GROUND WORK TO THE THREE FOREGOING DIAGRAMS.
+THE LITTLE PENTAGONS GOVERN THE DESIGN.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_581" id="page_581">{581}</a></span></p>
+
+<p class="ills"><a name="ill_359" id="ill_359"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-359_lg.jpg">
+<img src="images/pattern-359_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 171 DESCRIBE THE CIRCUMFERENCES AS IN PLAN, AND INSCRIBE
+THE DECAGONAL STAR. THE SMALL DECAGONS IN THE CENTRE OF THE TRIANGLES OF
+THE PLAN, BY EXTENDED LINES, FORM THE ROSETTE.</p>
+</div></div>
+
+<p class="ills"><a name="ill_360" id="ill_360"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-360_lg.jpg">
+<img src="images/pattern-360_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 172 DIVIDE AS IN PLAN. UPON THE LESSER SIDE TRACE AN
+ISOCELES TRIANGLE. BY THE APEX OF THE TRIANGLE TRACE A CIRCUMFERENCE, IN
+WHICH TAKE THE DIAGONALS OF THREE IN THREE DIVISIONS.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_582" id="page_582">{582}</a></span></p>
+
+<p class="ills"><a name="ill_361" id="ill_361"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-361_lg.jpg">
+<img src="images/pattern-361_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 173 LOZENGE PLAN, WITH COMBINING LINES. THE LOZENGE IS
+IMAGINARY, AND DOES NOT INDICATE THE RADII IN EXTENSION ONE WITH THE
+OTHER, BUT ONLY THE ORDER OF SUB-DIVISION OF THE PENTAGONAL AND
+DECAGONAL ROSETTES.</p>
+</div></div>
+
+<p class="ills"><a name="ill_362" id="ill_362"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-362_lg.jpg">
+<img src="images/pattern-362_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 174 SUB-DIVIDE AS IN PLAN THE SPACE SURROUNDING A POINT
+INTO TWENTY EQUAL PARTS. AT THE MEETING OF THE HORIZONTAL WITH THE
+VERTICAL LINE DRAW A CONCENTRIC CIRCUMFERENCE IN WHICH IS INSCRIBED THE
+STARRED DECAGONAL ROSETTE. THE SMALL PENTAGON IS DOMINANT.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_583" id="page_583">{583}</a></span></p>
+
+<p class="ills"><a name="ill_363" id="ill_363"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-363_lg.jpg">
+<img src="images/pattern-363_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 174 SAME GROUND-WORK AS NUMBER 172, BUT WITH A GREATER
+INTERVAL BETWEEN THE ROSETTES. ONE OF THE ROSETTES, INSTEAD OF BEING
+RECTILINEAR, IS CURVILINEAR.</p>
+</div></div>
+
+<p class="ills"><a name="ill_364" id="ill_364"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-364_lg.jpg">
+<img src="images/pattern-364_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 175 SUB-DIVIDE AS INDICATED. DESCRIBE CIRCUMFERENCES
+EQUAL AND TANGENT, AND TAKE THE DIAGONALS OF FOUR IN FOUR DIVISIONS.
+LASTLY, THE ROSETTES ARE EFFECTED.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_584" id="page_584">{584}</a></span></p>
+
+<p class="ills"><a name="ill_365" id="ill_365"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-365_lg.jpg">
+<img src="images/pattern-365_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 175’ DRAW CIRCUMFERENCES AND SUB-DIVIDE AS IN PLAN. TAKE
+THE DIAGONALS OF FOUR IN FOUR DIVISIONS, WHICH, PROLONGED, COMPLETE THE
+DESIGN.</p>
+</div></div>
+
+<p class="ills"><a name="ill_366" id="ill_366"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-366_lg.jpg">
+<img src="images/pattern-366_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 176 DESCRIBE CIRCUMFERENCES AND TAKE A PERPENDICULAR LINE
+TO THE BORDER OF THE RADIUS; TAKE THE DIAGONALS OF FOUR IN FOUR
+DIVISIONS, WHICH PROLONGED, COMPLETE THE FIGURE.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_585" id="page_585">{585}</a></span></p>
+
+<p class="ills"><a name="ill_367" id="ill_367"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-367_lg.jpg">
+<img src="images/pattern-367_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 176’ RECTANGLE PLAN OF DIAGONAL SYMMETRY. TAKE THE
+DIAGONALS OF FOUR IN FOUR DIVISIONS. THEN BY A CONCENTRIC CIRCUMFERENCE.
+SET OUT THE ROSETTE. THERE ARE, IN FACT, THREE ROSETTES OF TEN POINTS
+EQUAL AND TANGENT.</p>
+</div></div>
+
+<p class="ills"><a name="ill_368" id="ill_368"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-368_lg.jpg">
+<img src="images/pattern-368_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 177 LOZENGE PLAN, WITH COMBINING LINES A CONCENTRIC
+CIRCUMFERENCE DESCRIBES A STAR THE ROSETTE IS THEN DRAWN. THEN
+GRADUALLY, BY THE AID OF THE PENTAGONAL ADJUSTMENT, THE NET-WORK IS
+DESCRIBED.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_586" id="page_586">{586}</a></span></p>
+
+<p class="ills"><a name="ill_369" id="ill_369"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-369_lg.jpg">
+<img src="images/pattern-369_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> 178 LOZENGE PLAN, WHERE THE GREAT AXIS IS THREE TIMES
+THAT OF THE LESSER AXIS. SUB-DIVIDE AS IN PLAN. TRACE CIRCUMFERENCES
+EQUAL AND TANGENT, IN WHICH ARE INSCRIBED REGULAR PENTAGONS. THE REST IS
+EASILY FOLLOWED. THE NET-WORK IS COMPOSED OF FIVE SERIES OF LINES.</p>
+</div></div>
+
+<p><span class="pagenum"><a name="page_587" id="page_587">{587}</a></span></p>
+
+<p class="ills"><a name="ill_370" id="ill_370"></a></p>
+
+<div class="figcenter">
+<a href="images/pattern-370_lg.jpg">
+<img src="images/pattern-370_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<div class="captionh"><p> FINIS.</p>
+</div></div>
+
+<div class="figcenter">
+<img src="images/back.jpg" width="351" height="500" alt="" title="" />
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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+</body>
+</html>
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diff --git a/LICENSE.txt b/LICENSE.txt
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #59776 (https://www.gutenberg.org/ebooks/59776)