initial commit of ebook 64620HEADmain

947 files changed, 30057 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/64620-0.txt b/64620-0.txt
new file mode 100644
index 0000000..bfc01c0
--- /dev/null
+++ b/64620-0.txt
@@ -0,0 +1,5927 @@
+*** START OF THE PROJECT GUTENBERG EBOOK 64620 ***
+
+                          THE SPANISH SERIES
+
+                       GRANADA AND THE ALHAMBRA
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                            GOYA
+                            TOLEDO
+                            MADRID
+                            SEVILLE
+                            MURILLO
+                            CORDOVA
+                            EL GRECO
+                            VELAZQUEZ
+                            THE PRADO
+                            THE ESCORIAL
+                            ROYAL PALACES OF SPAIN
+                            GRANADA AND ALHAMBRA
+                            SPANISH ARMS AND ARMOUR
+                            LEON, BURGOS AND SALAMANCA
+                            VALLADOLID, OVIEDO, SEGOVIA
+                            ZAMORA, AVILA AND ZARAGOZA
+
+
+
+
+                              GRANADA AND
+                             THE ALHAMBRA
+
+                      A BRIEF DESCRIPTION OF THE
+                        ANCIENT CITY OF GRANADA
+                       WITH A PARTICULAR ACCOUNT
+                         OF THE MOORISH PALACE
+                         BY ALBERT F. CALVERT
+                        WITH 460 ILLUSTRATIONS
+
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                  NEW YORK: JOHN LANE COMPANY MCMVII
+
+                  Printed by BALLANTYNE & CO. LIMITED
+                       Tavistock Street, London
+
+
+                                  TO
+                      H.I.M. THE EMPRESS EUGÉNIE
+               THIS SOUVENIR OF THAT FAIR GRANADAN HOME
+                        FROM WHICH SHE CARRIED
+                      THE CROWN OF SPANISH BEAUTY
+                     TO GRACE THE THRONE OF FRANCE
+                             IS DEDICATED
+                   IN ACCORDANCE WITH HER MAJESTY’S
+                          GRACIOUS PERMISSION
+
+
+
+
+PREFACE TO FIRST EDITION
+
+
+Although the admission may be construed by the censorious as betraying a
+lack of becoming diffidence, I am tempted to believe that no apology
+will be demanded for the publication of this volume by that section of
+the reading public for which it has been chiefly compiled. My temerity
+goes even further, and I anticipate with some confidence that visitors
+to the Alhambra, and pilgrims to that famous Mecca of Moorish
+workmanship, will recognise in this book an earnest attempt to supply a
+long-felt want. When I paid my first visit to Granada some years ago, I
+was surprised and disappointed to find that no such thing as an even
+fairly adequate illustrated souvenir of this “city of the dawn” was to
+be obtained. Many tomes, costly and valuable (not necessarily the same
+thing), have been written to place on record the wonders of “the
+glorious sanctuary of Spain,” but these are beyond the reach of the
+general public. Many beautiful pictures have caught odd ecstasies of
+this superb and perfectly harmonised palace of art, but these
+impressions are not available to the ordinary tourist.
+
+What is wanted, as I imagine, is a concise history and description of
+the Alhambra, illustrated with a series of pictures constituting a
+tangible remembrancer of the delights of this Granadian paradise
+
+    “Where glory rests ’tween laurels,
+     A torch to give thee light!”
+
+The Alhambra may be likened to an exquisite opera which can only be
+appreciated to the full when one is under the spell of its magic
+influence. But as the witchery of an inspired score can be recalled by
+the sound of an air whistled in the street, so--it is my hope--the pale
+ghost of this Moorish fairy-land may live again in the memories of
+travellers through the medium of this pictorial epitome.
+
+I desire, however, to submit an explanation--or excuse--for the unusual
+form in which this volume is issued. At the commencement of my work I
+experienced no little difficulty in collecting the requisite
+illustrations, for most of the obtainable photographs were ill-chosen
+and but carelessly developed, and I was compelled to press my own
+cameras into the service of my scheme. But when my designs became known,
+I was inundated with offers of pictures of every description, until the
+embarrassment of artistic treasures entirely upset the original purpose
+of my book. Artists placed their studies at my disposal; collectors
+begged me, with irresistible Spanish courtesy, to regard their galleries
+as my own; and students directed my attention to little-known
+publications on the subject.
+
+Don Mariano Contreras, Conservator of the Alhambra, the son of the
+gifted Raphaël Contreras, who devoted thirty-seven years of his life to
+the restoration of the Palace--gave me the benefit of his knowledge of
+this unique treasure-house of art; and I have also laid under
+contribution the beautiful plates of Owen Jones, who disposed of a Welsh
+inheritance in order to produce his great work on the _Plans,
+Elevations, Sections, and Details of the Alhambra_. Jones’s _Grammar of
+Ornament_, which has been described as “beautiful enough to be the
+horn-book of the Angels,” also contains the result of his researches in
+the Alhambra, which occupied him for the greater part of eleven years. A
+selection of these illustrations is here rescued from the obscurity of
+public libraries and the inaccessible fastnesses of private collections.
+The inclusion of John F. Lewis’s drawings, and the reproduction of a
+series of pictures by James C. Murphy, who spent seven years in the
+study of the artistic marvels of the Alhambra, I do not feel called upon
+to defend. The photographs, several of which were placed at my disposal
+by Don Rafaël Garzón, represent the buildings as they appear to-day; the
+drawings were made before the Palace was damaged by the disastrous fire
+of September, 1890.
+
+For the historical portions of the description contained in the
+letterpress I have levied tribute on a variety of authors. _The History
+of the Mohammedan Dynasties in Spain_, by the learned Spanish
+Orientalist, Don Pascual de Gayángos; Raphaël Contreras’ _Étude
+Descriptive des Monuments Arabes_; Richard Ford’s reverent
+appreciations; Dr. R. Dozy’s history; Mr. Stanley Lane-Poole’s _The
+Moors in Spain_; Washington Irving’s fascinating writings; and _The
+Alhambra Album_, presented by Prince Dolgorouki in 1829, containing the
+autographs, poems, and thoughts of succeeding generations of visitors to
+Granada, these and many others have been drawn upon in the following
+pages.
+
+But the multiplicity of my illustrations convinced me that if I adhered
+to my idea of furnishing an amount of letterpress sufficient to “carry”
+the blocks, I should only end in producing a book that would tax the
+physical endurance of my readers by reason of its bulk, and exhaust
+their patience with a tedious super-abundance of minute descriptive
+pabulum. I resolved, therefore, to give pride of place to the pictorial
+side of the volume; to abandon the traditions regulating the proportions
+of prose to pictures; and make my appeal to the public by the beauty and
+variety of the illustrations I have collected, and the immensity of
+elaborate letterpress which I have not written.
+
+A. F. C.
+
+“ROYSTON,”
+
+     HAMPSTEAD, N.W., 1904.
+
+
+
+
+PREFACE TO SECOND EDITION
+
+
+The compilation of a book of this kind reveals in the author a
+refreshing optimism which does not always survive the ordeal of
+publication, and it is, perhaps, out of sympathy with the misgivings
+that assail him as he approaches the bar of public and critical opinion,
+that convention cedes to him the privilege of making some apology for
+the faith that is in him. In his preface he is permitted to explain
+himself, and this _apologia_ or justification, call it which you will,
+stands as the last word in his own defence. But the demand for a further
+edition is the outcome of an amiable conspiracy on the part of the
+public, and it is not required of the author to explain, justify, or
+excuse an issue for which he is not directly responsible. Any revision
+or amplification, however, which is to be found in a second impression,
+may be briefly referred to, and at the same time tradition allows him to
+express the feelings of gratitude and gratification that the occasion
+inspires.
+
+It has been my ambition to acknowledge the favour with which this book
+has been received, by having the present edition produced with the
+greatest care on special paper, and by the addition of a number of new
+illustrations, including some half-tone and coloured plates reproduced
+from the _Monumentos Arquitectónicos de España_ and other sources, which
+I have acquired since it was first produced. It will be seen that
+several of the coloured pictures in this book illustrate designs which
+are common to the Arabian ornamentation to be found in Cordova and
+Seville, and, as being representative of the Moresco work of the period,
+they also appear in the companion volume on _Moorish Remains in Spain_,
+but it may be stated that the whole of the plates reproduced here are
+from photographs and drawings secured or specially made to illustrate
+_The Alhambra_. In its pictorial appeal it has been my ambition to make
+this edition as worthy of its subject as means and ability permit, and I
+offer this assurance as an earnest of my sincere appreciation of the
+generous manner in which the Press and public rewarded my previous
+effort.
+
+A. F. C.
+
+
+
+
+PREFACE TO NEW EDITION
+
+
+The generous appreciation with which my larger book on the Alhambra was
+received by both the Press and the public in Spain and America, as well
+as in this country, encourages me to hope that the present volume will
+prove a popular addition to this Spanish Series. Three years ago, when I
+published _The Alhambra_ to supply what my own experience taught me to
+be a real want, the scale and quality of the illustrations made it
+impossible to issue the work at a popular price. I am now enabled to
+present an inexpensive and, I trust, adequate souvenir of the
+fascinating city of Granada and its Red Palace. The text is no mere
+reprint of the matter which appeared in my former work, but embodies the
+results of a more critical, though not less appreciative, survey of the
+last monuments of the Spanish Moor. Bearing in mind, too, that the
+illustrations, being on a reduced scale, called for fuller explanation,
+I have endeavoured to condense as much detail and descriptive matter
+into the letterpress as the limits I had laid down for myself admitted.
+Those limits were still further encroached upon by the additional wealth
+of illustration which resulted from the decision to include the city of
+Granada in a work which, in previous issues, had been devoted entirely
+to the palace of the Alhambra, and the new pictorial matter so acquired
+threatened to annex all the space allotted for the text. But little as I
+liked the idea of further condensing the letterpress, I was even less
+inclined to neglect the opportunity of enhancing the pictorial value of
+the volume. In dealing with the Moorish art of Spain, I have always
+recognised that the popular want is for pictures rather than the printed
+word, and I venture to hope that the present volume, which surpasses its
+costlier predecessors in the number of the plates reproduced, will
+constitute a serviceable if not exhaustive guide to the beautiful
+Moorish capital, and an artistic remembrancer of its fascinating
+monuments.
+
+I have to acknowledge my obligations to Mr. E. B. d’Auvergne for his
+kind and valuable assistance in the compilation of the text, and for
+permission to reproduce many of the additional photographs I am indebted
+to the courtesy of Don Senan y Gonzalez, of Herr Ernst Wasmuth of
+Berlin, publisher of Uhde’s _Baudenkmaeler in Spanien und Portugal_, and
+of Herr Eugen Twietmeyer of Leipzig, publisher of Junghandel’s _Die
+Baukunst Spaniens_.
+
+As I have remarked in the preface to the volume on Cordova, it may be
+thought that in the present work I have given an excess of detail of
+Arabian decoration and ornament, but it has been my aim to provide the
+last word on Moorish art--so far at least as the pictorial
+representation of it is concerned--wherever I have dealt with it in
+Spain. To the general reader these reproductions of tracery and
+elaborate detail may seem superfluous, but they will, I trust, lend to
+the book an additional interest in the eyes of students and artists, for
+whose delectation they are included here.
+
+A. F. C.
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+
+THE CITY OF THE MOOR                                                   1
+
+THE ALHAMBRA                                                          25
+
+THE GENERALIFE                                                        61
+
+CATHOLIC GRANADA                                                      65
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+       TITLE                                                       PLATE
+
+View of Granada, showing the Alhambra and the Sierra
+Nevada                                                                 1
+
+General View of the Alhambra                                           2
+
+View of the Alhambra from the Sacromonte Road                          3
+
+The Alhambra from the Moor’s Seat--La Silla del Moro                   4
+
+General View of the Alhambra from San Nicolás                          5
+
+View of the Gate of Elvira                                             6
+
+A View of the Alhambra from the Albaicin (_Sketch_)                    7
+
+View of the Cathedral and the Alhambra from San
+Gerónimo                                                               8
+
+View of the Sierra Nevada from the Carrera de las
+Angustias                                                              9
+
+View of the Royal Gate                                                10
+
+View from the Tower in the Alhambra                                   11
+
+La Plaza Nueva                                                        12
+
+Monument to Columbus in the Paseo del Salon; the
+Sierra Nevada in the Distance                                         13
+
+The Street of the Catholic Sovereigns                                 14
+
+Arab Silk Market                                                      15
+
+La Casa de los Tiros                                                  16
+
+Church of Santa Ana                                                   17
+
+Limoges Enamel Triptych which belonged to the Gran
+Capitán. (Provincial Museum, Granada)                                 18
+
+Altar in the Church of San Gerónimo                                   19
+
+House in the Calle de Darro. The Palacio de Justicia                  20
+
+The House of Castril                                                  21
+
+Typical Gypsies and their Quarters                                    22
+
+Gypsies in Front of their Dwellings                                   23
+
+Gypsy-dwellings in the Sacromonte                                     24
+
+General View of the Gypsy Quarters                                    25
+
+Interior of a Gypsy’s Cave                                            26
+
+Group of Gypsies                                                      27
+
+A Gypsy Family                                                        28
+
+Gypsies bivouacking                                                   29
+
+Gypsies                                                               30
+
+Gypsies clipping a Mule                                               31
+
+Gypsies                                                               32
+
+Gypsies                                                               33
+
+Gypsy Dance                                                           34
+
+Interior of the Sacristy of the Cartuja                               35
+
+Interior of Cartuja: The Sacristy                                     36
+
+Interior of the Cartuja Church                                        37
+
+Saint Bruno, by Alonso Cano, at the Carthusian Monastery
+of Granada                                                            38
+
+Exterior of the Royal Chapel                                          39
+
+The Gate of Pardon and the Exterior of the Cathedral                  40
+
+Façade of the Cathedral                                               41
+
+Exterior Gate of the Royal Chapel                                     42
+
+Detail in the Royal Chapel                                            43
+
+Ancient Gothic Entrance to the Royal Chapel                           44
+
+General Exterior View of the Royal Chapel, Upper
+Part                                                                  45
+
+General Exterior View of the Royal Chapel                             46
+
+Façade of the Cathedral. Exterior of the Royal Chapel                 47
+
+General View of the Interior of the Cathedral                         48
+
+The Cathedral. General View of the Interior                           49
+
+The Cathedral. View of the Principal Nave                             50
+
+The High Altar in the Cathedral                                       51
+
+Altar-piece in the Royal Chapel, by F. de Borgoña                     52
+
+The Cathedral. Boabdil giving up the Keys of Granada
+to the Catholic Sovereigns. Fragment of the Altar-piece
+in the Royal Chapel                                                   53
+
+The Inner Choir of the Cathedral                                      54
+
+The Cathedral. Tombs of the Catholic Sovereigns in
+the Royal Chapel                                                      55
+
+View of the Royal Chapel and Tombs of the Catholic
+Sovereigns, by P. Gonzalvo                                            56
+
+Royal Chapel. Tombs of Ferdinand and Isabella                         57
+
+Vault of the Catholic Sovereigns at Granada                           58
+
+Tombs of Ferdinand and Isabella, Doña Juana and
+Philip the Handsome                                                   59
+
+Tombs of Ferdinand and Isabella, Doña Juana and
+Philip the Handsome                                                   60
+
+Sceptre, Crown, Sword, Mass-book, and Coffer of the
+Catholic Sovereigns                                                   61
+
+Relics of the Catholic Sovereigns                                     62
+
+Royal Chapel: Statue of Queen Isabella the Catholic                   63
+
+Statue of Isabella the Catholic                                       64
+
+Chapel of San Miguel in the Cathedral, Marble Sculpture               65
+
+Plan of the Alhambra Palace at Granada                                66
+
+General Plan of the Alhambra                                          67
+
+General View of the Alhambra from San Nicolás                         68
+
+The Red Towers from the Ramparts                                      69
+
+View of the Alhambra from the Sacromonte                              70
+
+General View of the Alhambra and Algibillo Promenade                  71
+
+View of the Alhambra from the Cuesta del Chapiz                       72
+
+The Red Towers                                                        73
+
+General View of the Alhambra                                          74
+
+The Tower of the Peaks                                                75
+
+The Infantas’ Tower and Captive’s Tower                               76
+
+View of the Watch Tower and Granada                                   77
+
+View of the Ramparts and the Watch Tower                              78
+
+The Aqueduct Tower and the Aqueduct                                   79
+
+The Gate of Justice. Detail of a Door in the Court
+of the Myrtles                                                        80
+
+The Alhambra and the Sierra Nevada                                    81
+
+Granada, from the Homage Tower                                        82
+
+“The Queen’s Dressing-room,” at the Summit of the
+Mihrab Tower, with Distant View of the Generalife                     83
+
+The Gate of Justice, erected by Yúsuf I.                              84
+
+The Tower of the Peaks                                                85
+
+The Captive’s Tower                                                   86
+
+Exterior of the Mosque, Private Property                              87
+
+Tower of the Aqueduct                                                 88
+
+Ascent to the Alhambra by the Cuesta del Rey Chico--Lesser
+King Hill                                                             89
+
+The Ladies’ Tower                                                     90
+
+Part of the Alhambra, Exterior                                        91
+
+The Homage Tower. Ancient Arab Ruins in the
+Alcazába                                                              92
+
+Gate of Justice, the Alhambra                                         93
+
+Gate of Justice (_Sketch_)                                            94
+
+The Gate of Justice                                                   95
+
+Plan, Height, and Details of the Gate of the Law, commonly
+called of Justice                                                     96
+
+Elevation of the Ancient Gate of Justice                              97
+
+Portal commonly called the Wine Gate                                  98
+
+Porch of the Gate of Judgment                                         99
+
+Elevation of the Wine Gate                                           100
+
+Transverse Section of Part of the Alhambra                           101
+
+Section showing Heights of the Alhambra        102, 103
+
+Promenades at the Entrance to the Alhambra                           104
+
+The Hall of Justice and Court of the Lions                           105
+
+Hall of Justice. Left Side                                           106
+
+Hall of Justice, showing Fountain of Court of the Lions              107
+
+Section of the Hall of Justice (looking East)                        108
+
+Section of the Hall of Justice (looking towards the
+Court of the Lions)                                                  109
+
+Vertical Section of the Hall of Justice                              110
+
+Details of the Hall of Justice                                       111
+
+Plan and Window of the Hall of Justice                               112
+
+Painting on the Ceiling of the Hall of Justice. No. 1                113
+
+Painting on the Ceiling of the Hall of Justice. No. 3                114
+
+Part of Picture in the Hall of Justice--The Moor’s
+Return from Hunting                                                  115
+
+Hall of Justice--The Death of the Lion at the Hands of
+a Christian Knight                                                   116
+
+Part of Picture in the Hall of Justice representing a
+Christian Knight rescuing a Maiden from a wicked
+Magician, or Wild-Man-o’-the-Woods                                   117
+
+Part of Picture in Hall of Justice--Moorish Huntsman
+slaying the Wild Boar                                                118
+
+Hall of Justice--Three Figures from the Picture of the
+Moorish Tribunal                                                     119
+
+The Mosque and Generalife                                            120
+
+Court of the Mosque                                                  121
+
+Façade of the Mosque                                                 122
+
+Interior of the Mosque in the Alhambra                               123
+
+Interior of the Mosque                                               124
+
+Elevation of the Portico adjacent to the Mosque                      125
+
+Detail of the Entrance Door of the Mosque                            126
+
+An Arched Window of the Mosque                                       127
+
+An Arched Window of the Mosque                                       128
+
+The Koran Recess in the Mosque, the Scene of Yusuf’s
+Assassination                                                        129
+
+The Mosque from Koran Recess                                         130
+
+Details of Ornament of Koran Recess near the Entrance
+Door of the Mosque                                                   131
+
+Cornice and Window in the Façade of the Mosque                       132
+
+Vertical Section of the Mosque                                       133
+
+Arab Lamp in Mosque                                                  134
+
+Details of the Front of the Mosque of the Harem                      135
+
+Details of Ornament in the Court of the Mosque                       136
+
+Details in the Court of the Mosque, Eastern Façade                   137
+
+Ornament in Panels, Court of the Mosque                              138
+
+Window in the Hall of Ambassadors                                    139
+
+Entrance to the Hall of Ambassadors                                  140
+
+Hall of Ambassadors                                                  141
+
+Section and Elevation of the Interior of the Hall of
+Ambassadors                                                          142
+
+Encaustic-tile Work of the Hall of Ambassadors                       143
+
+Ornament in Panels, Hall of Ambassadors                              144
+
+Inscriptions in the Hall of Ambassadors                              145
+
+Kufic Inscriptions, Hall of Ambassadors                              146
+
+“Wa la Ghálib ila Alá”--There is no Conqueror but
+God!--The famous Motto of Mohammed I. and his
+Successors. An Example from the Hall of Ambassadors                  147
+
+The Court of the Lions from the Templete Pomiente                    148
+
+Entrance to the Court of the Lions through the Pomiente
+Corner                                                               149
+
+North Gallery and Façade of the Hall of the Abencerrages             150
+
+The Court of the Lions from the Pomiente Corner                      151
+
+View in the Court of the Lions                                       152
+
+View in the Court of the Lions from the Hall of Justice              153
+
+The Court of the Lions                                               154
+
+General View of the Court of the Lions                               155
+
+Court of the Lions                                                   156
+
+North Gallery in the Court of the Lions                              157
+
+Section, Court of the Lions                                          158
+
+Pavilion in the Court of the Lions                                   159
+
+Fountain and East Temple in the Court of the Lions                   160
+
+Hall of Justice and Court of the Lions                               161
+
+Angle in the Hall of Justice                                         162
+
+Hall of Justice                                                      163
+
+Ceiling of the Hall of Justice                                       164
+
+The Mosque, and View of the Generalife                               165
+
+Exterior of a Window in the Mosque                                   166
+
+The Mosque, and View of the Generalife                               167
+
+Interior of the Mosque                                               168
+
+Court of the Mosque, West Façade                                     169
+
+Interior of the Mosque, converted into a Roman Catholic
+Church                                                               170
+
+Interior of the Mosque, converted into a Roman Catholic
+Church                                                               171
+
+Jalousies in the Court of the Mosque                                 172
+
+Entrance to the Hall of Ambassadors                                  173
+
+Balcony in the Hall of Ambassadors                                   174
+
+Detail of the Hall of the Arched Windows                             175
+
+Detail in the Hall of the Abencerrages                               176
+
+The Court of the Lions                                               177
+
+General View of the Court of the Lions                               178
+
+The Fountain and West Temple of the Court of the Lions               179
+
+Elevation of the Fountain of the Court of the Lions                  180
+
+The Fountain of the Court of the Lions, with Details
+of the Ornament                                                      181
+
+Plan of the Basin of the Fountain in the Court of the
+Lions                                                                182
+
+Section of the Pavilion in the Court of the Lions                    183
+
+Section of the Hall of the Two Sisters, and Section of
+Part of the Court of the Lions        184, 185
+
+Capital in the Court of the Lions, with a Scale of One
+Metre                                                                186
+
+Details of the Centre Arcade of the Court of the Lions               187
+
+Frieze over Columns, Court of the Lions                              188
+
+Detail of the Central Arch in the Court of the Lions                 189
+
+The First Six Verses of the Inscription around the Basin
+of the Fountain of the Court of the Lions                            190
+
+Entablature in the Court of the Lions                                191
+
+Cupola of the Pavilion in the Court of the Lions                     192
+
+Entrance to the Court of the Lions. Little Temple, the
+Court of the Lions                                                   193
+
+The Court of the Lions                                               194
+
+The Little Temple, and the Fountain, the Court of the
+Lions                                                                195
+
+The Court of the Lions                                               196
+
+The Court of the Lions, West Angle                                   197
+
+Morocco Embassy, December 1885                                       198
+
+The Court of the Lions from the West Temple                          199
+
+The Court of the Lions from the West Temple                          200
+
+West Gallery in the Court of the Lions                               201
+
+The Court of the Lions, Façade of the Hall of the Two
+Sisters                                                              202
+
+The Court of the Lions, Left-hand Angle                              203
+
+The Court of the Lions, Façade of the Hall of Two
+Sisters                                                              204
+
+The Court of the Lions from the Entrance                             205
+
+Detail of the Entrance to the Court of the Lions                     206
+
+Detail in the Court of the Lions                                     207
+
+Mosaics, North and South Sides, the Court of the Lions               208
+
+Hall of the Abencerrages                                             209
+
+Hall of the Abencerrages                                             210
+
+Hall of the Abencerrages                                             211
+
+Hall of the Abencerrages                                             212
+
+Wooden Doors, Hall of the Abencerrages                               213
+
+Gallery in the Court of the Fish-pond; or, of the
+Myrtles                                                              214
+
+Court of the Myrtles; or, of the Fish-pond. Façade
+of the Hall of Ambassadors                                           215
+
+Court of the Myrtles; or, of the Fish-pond                           216
+
+General View of the Court of the Myrtles; or, of the
+Fish-pond                                                            217
+
+North Side of the Court of the Fish-pond; or, of the
+Myrtles                                                              218
+
+Entrance to the Court of the Fish-pond; or, of the
+Myrtles                                                              219
+
+Gallery in the Court of the Myrtles; or, of the Fish-pond            220
+
+General View of the Court of the Myrtles and Comares
+Tower                                                                221
+
+Court of the Myrtles, East Façade                                    222
+
+Detail in the Court of the Myrtles                                   223
+
+Court of the Myrtles, East Façade                                    224
+
+Exterior of the Gallery in the Court of the Fish-pond;
+or, of the Myrtles                                                   225
+
+The Court of the Fish-pond; or, of the Myrtles                       226
+
+Ornament in the Court of the Fish-pond; or, of the
+Myrtles                                                              227
+
+Court of the Myrtles; or, of the Fish-pond, formed by
+Yúsuf I.                                                             228
+
+The Court of the Fish-pond; or, of the Myrtles. Gallery
+in the Court of the Fish-pond; or, of the Myrtles                    229
+
+The Hall of the Baths                                                230
+
+The Sultan’s Bath                                                    231
+
+The Sultana’s Bath                                                   232
+
+The Baths, Hall of Repose                                            233
+
+Chamber of Repose                                                    234
+
+Section of the Hall of the Baths                                     235
+
+Longitudinal Section through the Baths                               236
+
+Ground Plan of the Baths in the Alhambra                             237
+
+Ceiling of the Hall of the Baths                                     238
+
+Plan and Section of the great Cistern in the Alhambra                239
+
+A Section of the Baths in the Alhambra                               240
+
+Chamber of Repose. Sultan’s Bath constructed by
+Yúsuf I.                                                             241
+
+Interior of the Infantas’ Tower                                      242
+
+Sections of the Infantas’ Tower                                      243
+
+Interior of the Tower of the Infantas, Upper Part                    244
+
+Balcony of the “Captive” (Isabel de Solis), overlooking
+the Vega, or Plain, of Granada                                       245
+
+Alcove of the “Captive” (Isabel de Solis)                            246
+
+Interior of the Tower of the “Captive” (Isabel de
+Solis)                                                               247
+
+The “Captive’s” Tower from the Entrance                              248
+
+Interior of the Mosque. Room in the “Captive’s”
+Tower                                                                249
+
+Hall of Justice. Baths, the Chamber of Repose                        250
+
+Balcony of the Favourite, “Lindaraja”                                251
+
+Alcove in the “Lindaraja” Apartments                                 252
+
+Garden of “Lindaraja,” and the Apartments traditionally
+said to have been occupied by “Lindaraja,”
+a favourite Sultana                                                  253
+
+Detail, Interior of the Balcony of “Lindaraja”                       254
+
+Detail, Lower Part of the Balcony of “Lindaraja”                     255
+
+Detail of the Central Part of the Balcony of “Lindaraja”             256
+
+The Queen’s Boudoir and Distant View of the Generalife               257
+
+The Queen’s Boudoir and View of the Generalife                       258
+
+The Queen’s Boudoir and old Albaicin Quarter                         259
+
+The Queen’s Boudoir and Defile of the Darro                          260
+
+“Lindaraja’s” Garden and the Apartments in which
+Washington Irving stayed                                             261
+
+Angle of the Balcony of “Lindaraja”                                  262
+
+Balcony of the favourite “Lindaraja”                                 263
+
+Interior of the Tower of the Captive, Isabel de Solis                264
+
+Exterior of the Captive’s Tower                                      265
+
+The Tower of the Captive, Isabel de Solis                            266
+
+Interior of the Infantas’ Tower, Upper Part                          267
+
+Interior of the Infantas’ Tower                                      268
+
+Detail of the Upper Part of the Balcony of “Lindaraja”               269
+
+Hall of the Two Sisters                                              270
+
+Entrance to the Hall of the Two Sisters                              271
+
+Interior of the Hall of the Two Sisters                              272
+
+Hall of the Two Sisters                                              273
+
+Hall of the Two Sisters                                              274
+
+Temple and Façade of the Hall of the Two Sisters                     275
+
+View in the Hall of the Two Sisters                                  276
+
+Hall of the Two Sisters from the Entrance Door, built
+by Yúsuf I.                                                          277
+
+Upper Balcony of the Hall of the Two Sisters                         278
+
+Hall of the Two Sisters from the Entrance Door                       279
+
+Ceiling of the Hall of the Two Sisters                               280
+
+Detail of the Upper Story, Hall of the Two Sisters                   281
+
+Detail of the Lateral Windows of the Hall of the Two
+Sisters                                                              282
+
+Detail in the Hall of the Two Sisters                                283
+
+Panel, Ornament, and Inscriptions in the Hall of the
+Two Sisters                                                          284
+
+Inscription in the Hall of the Two Sisters                           285
+
+Frieze in the Hall of the Two Sisters                                286
+
+Panel on Jambs of Doorways, Hall of the Two Sisters                  287
+
+Details of the Glazed Tiles in the Dado of the Hall
+of the Two Sisters                                                   288
+
+Band round Panels in Windows, Hall of the Two Sisters                289
+
+Mosaic in Dado of Recess. Mosaic in Dado of the
+Entrance to the Hall of the Two Sisters                              290
+
+Mosaic in Dado of Hall of Ambassadors. Mosaic in
+Dado of the Hall of the Two Sisters                                  291
+
+Wine Gate. West Façade                                               292
+
+Detail of the only ancient “Jalousie” remaining in
+the Alhambra                                                         293
+
+El Jarro. Arab Vase now in the Museum of the Palace                  294
+
+El Jarro. The Arabian Vase and Niche in which it
+formerly stood, Hall of the Two Sisters                              295
+
+An Arab Vase of the Fourteenth Century in the Niche
+wherein it stood until the Year 1837                                 296
+
+Sword of the last Moorish King of Granada, commonly
+called “The Sword of Boabdil”                                        297
+
+The Surrender of Granada by Boabdil to Ferdinand
+and Isabella, January 2, 1492                                        298
+
+Gold Coin (obverse and reverse) of Mohammed I., the
+Founder of the Alhambra, who reigned 1232-1272
+A.D.                                                                 299
+
+Details and Inscriptions, and Arabian Capitals                       300
+
+The Gothic Inscription set up in the Alhambra by the
+Count of Tendilla, to commemorate the Surrender
+of the Fortress in 1492                                              301
+
+Mosaic Pavement in the Queen’s Dressing-room (Tocador
+de la Reyna.)    Mosaic, from a Fragment in
+the Alhambra                                                         302
+
+The House of Carbon                                                  303
+
+The ancient Granary Market and House of Carbon                       304
+
+Elevation of the Casa del Carbon, or House of
+Carbon, once known as the House of the Weathercock                   305
+
+Courtyard of a Moorish House in the Albaicin                         306
+
+Interior of an Arab House in the Albaicin                            307
+
+The Proclamation of Boabdil. By Plácido Frances
+(National Exhibition of Beaux Arts, 1884)                            308
+
+The Author in the Alhambra                                           309
+
+Cornices, Capitals, and Columns in the Alhambra                      310
+
+Miscellaneous Ornament in the Alhambra                               311
+
+The Fable of Jupiter and Leda in the Alhambra                        312
+
+Bas-relief, now in the Museum of the Alhambra                        313
+
+Arabian Sword                                                        314
+
+Capitals from the Courts and Halls of the Alhambra                   315
+
+Encaustic-tile Work in the Royal Room of Santo
+Domingo                                                              316
+
+Various Mosaics from the Alhambra                                    317
+
+Inscriptions in the Alhambra                                         318
+
+Plan of the Palace of Charles V. and of the Subterranean
+Vaults of the Alhambra                                               319
+
+General View of the Alhambra from the Homage Tower                   320
+
+Ancient Cistern. Early Fourteenth Century                            321
+
+The Alhambra (_Specially drawn for the Spanish
+Series_)                                                             322
+
+Part of Exterior of the Palace of Charles V.                         323
+
+Elevation of the Palace of Charles V.                                324
+
+Section of the Palace of Charles V.                                  325
+
+Fountain of the Emperor Charles V.                                   326
+
+View of the Alhambra from the Homage Tower                           327
+
+Interior of the Palace of Charles V.                                 328
+
+Doorway of the Palace of Charles V.                                  329
+
+Bas-relief in the Palace of Charles V.                               330
+
+Porch of the Palace of Charles V. from the West                      331
+
+Roman Court, Palace of Charles V.                                    332
+
+Ground Plan of the Generalife at Granada                             333
+
+The Generalife                                                       334
+
+The Principal Court of the Generalife                                335
+
+The Court of the Fish-pond in the Generalife                         336
+
+Promenades and Gardens of the Generalife                             337
+
+The Generalife                                                       338
+
+Front View of the Portico of the Generalife                          339
+
+Transverse Section of the Royal Villa of the Generalife              340
+
+Gallery in the Generalife                                            341
+
+The Generalife. Gallery in the Acequia Court                         342
+
+The Generalife.   Entrance to the Portrait Gallery                   343
+
+Garden of the Generalife                                             344
+
+Elevation of the Portico of the Generalife                           345
+
+The Acequia Court in the Generalife                                  346
+
+A Corner of the Acequia Court in the Generalife                      347
+
+Cypress Court. A Corner in the Acequia Court                         348
+
+The Cypress of the Sultana in the Generalife                         349
+
+A Ceiling in the Generalife                                          350
+
+The Generalife. The Acequia Court from the Main
+Entrance                                                             351
+
+The Generalife.    The Acequia Court from the Interior               352
+
+Exterior View of the Generalife                                      353
+
+Entrance to the Generalife                                           354
+
+The Generalife. Court of the Sultana’s Cypress                       355
+
+The Generalife. The Acequia Court from the Interior                  356
+
+South Façade of the Palace of Charles V.                             357
+
+Bas-relief in the Palace of Charles V.                               358
+
+Bas-relief in the Palace of Charles V.                               359
+
+Gate of the Granadas                                                 360
+
+Promenades and Hotels of the Alhambra                                361
+
+The Gate of Justice and Fountain of Charles V.                       362
+
+Environs of the Alhambra. Fountain of Charles V.                     363
+
+Gate of Justice. Principal Entrance to the Alhambra                  364
+
+Gate of Justice                                                      365
+
+Wine Gate. East Façade                                               366
+
+Environs of the Alhambra. Tower of the Peaks                         367
+
+Tower of the Peaks                                                   368
+
+General View of the Alhambra from the Silla del
+Moro                                                                 369
+
+General View of the Alhambra from the Gypsy
+Quarters                                                             370
+
+General View of the Alhambra from the Generalife                     371
+
+View of Granada and the Alhambra from the Sacromonte                 372
+
+General View of the Alhambra from San Nicolas                        373
+
+The Watch Tower, the Cathedral, and Granada                          374
+
+Villas on the Banks of the River Darro                               375
+
+A View of the Alhambra                                               376
+
+Villas on the Banks of the River Darro                               377
+
+The Watch Tower and Cathedral                                        378
+
+The Red Tower                                                        379
+
+The Homage Tower and Gypsy Quarters: exterior of
+their Caves                                                          380
+
+Carrera del Rio Darro                                                381
+
+The Gate of Elvira. The old Entrance to the Fortifications           382
+
+Washing Place in the Puerta del Sol                                  383
+
+Courtyard of an Arab House                                           384
+
+A Moorish Archway                                                    385
+
+Interior of an old House in the Calle del Horno de Oro               386
+
+Interior of an old House in the Albaicin                             387
+
+The Cathedral and General View                                       388
+
+General View of the Cathedral                                        389
+
+General View of the Exterior of the Cathedral                        390
+
+Entrance to the Royal Chapel                                         391
+
+Exterior of the Royal Chapel of the Catholic Sovereigns              392
+
+Detail of the Exterior of the Royal Chapel                           393
+
+Exterior of the Royal Chapel                                         394
+
+Exterior of the Cathedral                                            395
+
+Exterior of the Royal Chapel                                         396
+
+Exterior of the Cathedral. The Gate of Pardon                        397
+
+Gothic Pinnacle on the Royal Chapel                                  398
+
+The Cathedral. View from the Choir                                   399
+
+The   Cathedral. General View of the Chancel and
+High Altar                                                           400
+
+Bas-relief in the Altar-piece of the Royal Chapel                    401
+
+General View of the Chancel in the Cathedral                         402
+
+The Royal Chapel. Sepulchre of the Catholic Sovereigns               403
+
+The Royal Chapel. Detail of the Sepulchre of the
+Catholic Sovereigns                                                  404
+
+The Royal Chapel. Sculpture of King Ferdinand the
+Catholic                                                             405
+
+Sepulchre of Ferdinand                                               406
+
+Sepulchre of Isabella the Catholic                                   407
+
+Portal of the Church of San Juan de Dios                             408
+
+Sepulchre of Alonso Caño in San Gerónimo                             409
+
+Head of John the Baptist                                             410
+
+Head of John the Baptist                                             411
+
+Head of John the Baptist                                             412
+
+Exterior of the Cartuja Monastery                                    413
+
+Sacristy in the Cartuja, Left Side                                   414
+
+Sacristy in the Cartuja, Right Side                                  415
+
+Cartuja. Sancta Sanctorum                                            416
+
+Cartuja. Detail of the Cupboards in the Sacristy                     417
+
+Altars in the Cartuja. Pictures by Sanchez y Cotán,
+a Monk of the Order                                                  418
+
+Cartuja. The Immaculate Conception. By Murillo                       419
+
+Cartuja. The Virgin of the Rosary. By Murillo                        420
+
+Cartuja. St. Joseph and the Child. Sculpture by
+Alonso Caño                                                          421
+
+Cartuja. St. Mary Magdalene. Sculpture by Alonso
+Caño                                                                 422
+
+Cartuja. Horsemen hanging Martyrs. By Sanchez
+Cotán                                                                423
+
+Cartuja. The Baptism of Our Lord. By Sanchez
+Cotán                                                                424
+
+Cartuja. The Holy Family. By Sanchez Cotán                           425
+
+The Crucifixion of Our Lord. By Morales                              426
+
+The Conception of Our Lady. By Morales                               427
+
+The Gypsy Quarters. Exterior of the Caves                            428
+
+The Gypsy Quarters. An “At Home”                                     429
+
+Gypsy Dance in their Quarters                                        430
+
+Gypsy Types at the Doors of their Caves                              431
+
+Gypsy Dance in their Quarters                                        432
+
+Gypsy Dancers and their Captain, J. Amaya                            433
+
+Bridge of the Genil                                                  434
+
+General View                                                         435
+
+General View of the old Albaicin                                     436
+
+General View from the Watch Tower                                    437
+
+Old Arab Palace, now the Property of a Spanish Nobleman              438
+
+The old Town Hall                                                    439
+
+The Royal Gate and Street of the Catholic Sovereigns                 440
+
+Monument to Columbus in the Paseo del Salon                          441
+
+The Raw Silk Market                                                  442
+
+The Raw Silk Market. Ancient Arab Silk Market                        443
+
+Exterior of an old House, Cuesta del Pescado                         444
+
+The Court of Justice                                                 445
+
+Carrera del Darro                                                    446
+
+Market and Gypsy Fair in the Triunfo                                 447
+
+Calle de San Anton                                                   448
+
+Antequeruela Quarter, Sierra Nevada, and the “Last
+Sigh of the Moor”                                                    449
+
+Carrera de Genil and View of the Sierra Nevada                       450
+
+Plaza de Mariana Pineda, Arab House, and View of the
+Sierra Nevada                                                        451
+
+General View of the Alhambra and of the Sierra Nevada
+from St. Michael                                                     452
+
+Huétor High Road and View of the Sierra Nevada                       453
+
+Villas on the Borders of the River Darro                             454
+
+Defile of the Darro                                                  455
+
+The Green Bridge and View of the Sierra Nevada                       456
+
+View of the Sierra Nevada                                            457
+
+General View of the Sierra Nevada and the River Genil                458
+
+Granada. (_Specially drawn for the Spanish Series_)                  459
+
+Arms of Granada                                                      460
+
+Plan of Granada                                               _page_  89
+
+
+
+
+GRANADA
+
+THE CITY OF THE MOOR
+
+
+Granada is the creation of the Moors. Its history is all of them--the
+record of their glory and their fall. The Pomegranate, as its conqueror
+styled it, ripened only in the warm sunshine of Islam, and withered with
+its decline. Under the Christian, it fell from the rank of a splendid
+capital to a poor provincial town. Now it subsists merely as a great
+monument to a vanished race and a dead civilisation.
+
+With Granada before it became the centre of an independent kingdom, we
+need concern ourselves but little. Its real interest dates from the
+establishment of the Nasrite dynasty in the first half of the thirteenth
+century. It was the time when the great Almohade Empire was breaking up.
+Probably all Andalusia would have shared the fate of Cordova and
+Seville, and the conquests of the Catholic kings been anticipated by two
+centuries, had not a young man of Arjona, Ibn Al Ahmar by name,
+determined to fashion for himself a kingdom out of the fragments of
+empire. With an ever-increasing following, he seized upon Jaen in 1232,
+and obtained possession of Granada itself in 1237. City after city
+opened its gates to him, including Malaga and Almeria, and in 1241 he
+was recognised as Lord and Sultan of all the territory between the
+Sierra Morena and the Pillars of Hercules, from Ronda to Baza.
+
+A great man, in every sense, was this founder of the Nasrite dynasty.
+His presence was fine and commanding, his manner bland and amiable, his
+courage worthy of the heroic age. For all his valour and prowess on the
+battlefield, no monarch prized peace more highly. He proved himself a
+true national hero and the father of his people. He fostered industry
+and agriculture, was a patron, like all his race, of arts and letters,
+and encouraged immigration by every means in his power. A far-sighted
+statesman, he perceived that a state so limited in area as his own could
+only hope to exist by virtue of an unusual density of population, and he
+offered every inducement to Muslims from the provinces conquered by the
+Christians to settle within his dominions. Granada was the last hope of
+Islam in Europe, and he resorted to all possible means to safeguard it.
+He concluded alliances with the rulers of Morocco, Tlemsen, and Tunis,
+and even of distant Baghdad. Above all, he neglected no means of
+humouring and conciliating the irresistible Castilian. He negotiated an
+alliance with Fernando III., binding himself to attend the Cortes (a
+curious stipulation for a Mohammedan) and to attend the king in his wars
+with 1500 lances. This latter part of the bargain he was speedily called
+upon to fulfil, and against his own co-religionists of Seville. It
+seemed an unnatural warfare, but, to palliate the iniquity, let it be
+said that Ibn Al Ahmar probably looked upon the Almohade citizens of
+Ishbiliah as heretics. At all events, whether his conscience approved
+his action or not, he contributed in no small measure to Fernando’s
+success, and was hailed enthusiastically as a conqueror upon his return
+to Granada. That the assistance he rendered was not looked upon as
+altogether voluntary by the people of Seville is shown by the fact that
+thousands of them migrated to his dominions and settled there.
+
+Ibn Al Ahmar dreaded the might of Castile. The only hope for the
+Mohammedans of Spain lay, he knew, in rest and consolidation. Careful
+not to give offence to his dreaded neighbour, he courteously received
+the revolted and exiled Infante Don Enrique when he sought refuge at
+Granada, but sent him on to Tunis with letters recommending him to the
+Sultan of that country. All his diplomacy, however, could not avert a
+war with Alfonso, and to add to his troubles, the Walis of Guadix,
+Malaga, and Gomares revolted against his authority. But an insurrection
+soon after broke out in Castile, and Alfonso was compelled to leave the
+Walis to fight their own battles. Ibn Al Ahmar, an old man of eighty
+years, wearily girded on his armour for another of the campaigns he had
+learned to hate. But his time for rest had come at last. A few miles
+beyond the gates of his capital, his charger threw him, as he rode at
+the head of his army. He breathed his last at sundown, by the roadside,
+surrounded by his weeping warriors. It was a dark night for Granada.
+
+Al Ahmar’s son, under the style of Mohammed II., succeeded him at the
+age of thirty-eight years, on January 21, 1273. Arabic historians have
+lavished their encomiums upon him, as indeed upon most of his dynasty.
+He is described as a warrior and a statesman, as a man of letters and a
+poet of considerable ability. During his reign of twenty-nine years, he
+was almost continuously at war. Soon after his accession he crushed the
+rebel Walis at Antequera, and then paid a visit to Alfonso X. at
+Seville, with a view to detaching the Castilian king from his alliance
+with the defeated insurgents. In this he was successful. Queen Violante,
+however, at the conclusion of his visit, asked of him a boon, which,
+according to the custom of the times, as a true knight, he was bound to
+grant. He then discovered, too late, that he had been tricked into
+granting a year’s truce to the Walis. Smouldering with rage, he returned
+to Granada and spent the year in maturing plans for the complete
+overthrow of his enemies. This he effected with the aid of the Sultan
+Yusuf of Morocco, whose army of 100,000 men landed at Tarifa in 1275.
+The Africans, as on previous occasions in Moorish history, proved
+dangerous allies. Mohammed found himself embroiled in a long and
+absolutely unprofitable war with Castile, and had the mortification of
+seeing the Africans possess themselves of Algeciras, Tarifa, and Malaga.
+He recovered possession of the latter town by bribing the governor to
+exchange it for the town of Salobreña, to be held as a personal
+acquisition; and rid himself at last of the troublesome Africans by
+means of an alliance with Sancho of Castile. But in 1302 we find him
+again at war with the Christians, fighting against whom he died.
+
+Mohammed III. was the worthy son of his father, and is specially
+commended for his indefatigable energy. He took a short way with
+traitors, even for those rough times. Ibn Nasr, the governor of Guadix,
+having been removed from his office by the Sultan, exerted himself to
+form a faction in his favour. Mohammed III., hearing of this, summoned
+him to court, and had him slain there and then in his presence. A more
+honourable exploit was his conquest of the town of Ceuta, opposite
+Gibraltar, in the year 1306. With the rich spoils of the foray, he built
+a magnificent mosque at Granada, resplendent with gold and silver,
+jasper and marble. His success perhaps excited the jealousy of the
+Catholic powers. Attacked on either side by the Kings of Castile and
+Aragon, he was forced to conclude a humiliating peace. On his return to
+his capital he was seized in the Alhambra itself by a band of
+conspirators and forced to abdicate in favour of his brother, Muley
+Nasr. The new Sultan began his reign with some military successes
+(1309). He forced Jaime of Aragon to raise the siege of Almeria; but as
+a set-off, he had to deal with conspiracies and rebellions at home, the
+most formidable of these being headed by his nephew, Abu-l-Walid. In the
+midst of these complications a curious incident occurred. Nasr was
+stricken with apoplexy and left for dead. His deposed brother, Mohammed
+III., was then released by some courtiers and brought to Granada, only
+to find that the usurper had recovered his health and his crown. The
+luckless Mohammed did not long survive his partisans’ mistake. But
+retribution speedily overtook his brother. He was forced to yield to
+Abu-l-Walid, and was glad to be allowed to retire to Guadix, the
+sovereignty of which was allotted to him. Usurper though he was, Nasr
+conducted himself with the dignity of a philosopher. His rival’s triumph
+chagrined him not at all, and when invited by Pedro I. to join him in an
+attack on Granada, he patriotically declined. He was a brave man, who
+did not complain at meeting the fate to which he had subjected others.
+
+The new monarch of Granada, Abu-l-Walid Ismail, was a fighter and a
+fanatic. He was fond of saying that he believed only in God and his good
+sword. His faith in the latter weapon was justified. He annihilated a
+Spanish army which had approached Granada, among the slain being the
+Infantes, Don Juan and Don Pedro; and carrying his victorious arms
+eastwards, wrested Baza and Martos from the enemies of his race. But
+others also reposed their faith in the sword. Like another Agamemnon, he
+appropriated a beautiful captive, the prize of the young Mohammed of
+Algeciras. Three days after his triumphal entry into his capital he fell
+at the gates of the Alhambra, a victim to the poniard of the man he had
+injured. Perceiving his sovereign to be at the point of death and
+resolving to avert the horrors of a disputed succession, the Wizir
+summoned the chief men of Granada to the palace, and announced that
+Abu-l-Walid was recovering from his wounds. The royal order was that all
+present should take the oath to the boy-prince, Muley Mohammed Ben
+Ismail, as successor to the kingdom. When this command had been obeyed,
+the wily Wizir announced the death of Abu-l-Walid and the accession of
+Mohammed IV. This was in the year 1325.
+
+When he had freed himself from the control of an unpopular regent, the
+young Sultan displayed qualities of heart and mind in no way inferior to
+those of his progenitors. It must be admitted that Arab historians have
+been somewhat too partial to this line of kings, for there is hardly one
+who is not described more or less explicitly as a paragon of all the
+virtues. Mohammed IV. had to fight hard to hold his own against the
+Spaniards on one side and the Africans on the other. He took Gibraltar,
+and lost it again to Abu-l-Hasan of Fez. But the African king was soon
+after obliged to ask his help to hold the fortress against the
+Christians. Mohammed generously responded to the appeal, fell like a
+thunderbolt upon the Spanish camp, and raised the siege. He was ill
+repaid. In August 1333, he was imprudent enough to reproach his African
+allies with their inability to hold the fortress; and a day or two
+later, having sent his army home, made an excursion to the summit of
+the Rock. He was followed by some among those he had reproached, and
+quickly despatched by their poniards. His body, naked and mangled, was
+found at the foot of the Rock, and conveyed to Malaga. No attempt seems
+to have been made to identify or to punish his murderers.
+
+The ill-fated Mohammed was succeeded by his brother, Yusuf I.,
+Abu-l-Hejaj. While possessed, of course, of the virtues which seem to
+have been inherent in the Nasrite dynasty, this prince was exceptional
+in being an ardent, almost a passionate, lover of peace. He believed,
+says Don Francisco Pi Margall, that it was more glorious to remedy evils
+than to attempt perilous enterprises. Assisted by his able Wizir,
+Redwân, he revised the laws and purified the administration of justice.
+He built a magnificent palace at Malaga, and the great aljama or mosque
+at Granada, of which no trace remains. Abandoning for once his settled
+policy, he joined the Africans in a war against Castile. He was badly
+beaten, and was glad to negotiate a truce of ten years. At the end of
+that time, Alfonso of Castile died, and the Sultan of Granada was
+stabbed to death by a madman, while at his prayers in the mosque, in the
+year 1354.
+
+Mohammed V. was as virtuous and as unfortunate as his father. He had
+reigned but four years when he was attacked in his own palace by the
+partisans of his half-brother, Ismail. Narrowly escaping death, he fled
+to his harem, and in the disguise of a slave eluded his pursuers and
+made his way to Guadix. Ismail II. ran a brief and inglorious career,
+and was dethroned and slain (1360) by the “Red King,” Abu Saïd.
+Meantime, Pedro I. of Castile espoused the cause of the lawful sultan
+and invaded the territory of Granada. But the magnanimous Moor would not
+consent to remount the throne at the cost of his people’s blood. Pedro
+accordingly withdrew, but freed Mohammed from his enemies by murdering
+Abu Saïd when the latter incautiously paid a visit to Seville. Mohammed
+was reinstated on his throne, and mindful of the services rendered him
+by Pedro, advanced to his support with a Grenadine army against Enrique
+de Trastamara. The tragedy of Montiel made a continuance of the struggle
+useless, and the Moorish sultan devoted the remainder of his reign to
+improving the condition of his subjects. He founded charitable
+institutions and asylums, and raised Granada to a high pitch of
+prosperity. The city, according to the contemporary writer, El Khattib,
+became the metropolis of the Mediterranean, the emporium of commerce,
+and the common fatherland of all nations. Under Mohammed V., the kingdom
+may be considered to have reached its zenith. Thence to its nadir we
+count but a century of years.
+
+Yusuf II., who succeeded his father in 1391, was so averse to war that
+his subjects suspected him of Christian sympathies. His son rose against
+him, and the pacific monarch was disposed to abdicate rather than draw
+the sword. The exhortations of the Moroccan ambassador induced him to
+take a manlier course, and putting himself at the head of the army
+lately arrayed against him, he ravaged Murcia with fire and sword. It
+was against this peace-loving sultan that Don Martin de la Barbuda, the
+Quixotic Master of Calatrava, directed his wild expedition--defeated, of
+course, and emphatically disavowed by Enrique III. of Castile. Yusuf’s
+younger son and successor, Mohammed VII.,[A] was a prince of a very
+different stamp. Accompanied by only twenty-five horsemen, he penetrated
+to Toledo, and negotiated in the heart of Castile with Enrique III. The
+peace thus concluded was soon interrupted, and Mohammed was quickly
+waging war throughout the length and breadth of Andalusia. The war
+continued with varying fortunes, and was carried on, as was usual in
+those days, by a series of forays, neither side making any determined
+effort to take the other’s capital or to secure his conquests. On
+feeling his end approaching, the warlike Sultan bethought him of his
+elder brother, Yusuf, whom he had confined in the castle of Salobreña.
+Fearing that the captive might now supplant his own son, Mohammed sent a
+messenger to command his execution. Yusuf was playing chess with the
+governor of the castle when the fatal mandate arrived. He asked leave of
+the emissary to finish the game, and before he had made the final move,
+the news arrived of the death of Mohammed and of his proclamation as
+Sultan of Granada. Yusuf showed himself as calm and unmoved at his
+accession to the throne as when he had stood upon the threshold of
+death.
+
+As peaceably disposed as his father, Yusuf III. had to withstand some of
+the most determined assaults upon his doomed kingdom. In his reign took
+place the celebrated siege of Antequera by the Castilians, the survivors
+of which founded the suburb of Antequeruela adjacent to Granada. Yusuf
+ultimately found peace and a valuable ally as the outcome of a strange
+story of fraternal animosity. The people of Gibraltar revolted against
+Granada and proclaimed themselves the subjects of Fez. The Sultan of
+that realm sent his hated brother, Abu Saïd, to take possession of the
+town, and treating him as David did Uriah, left him at the mercy of the
+enemy. Yusuf, however, treated the captured prince with generosity, and
+showed him a letter which he shortly after received from the Sultan of
+Fez, requesting that he might be poisoned. Thirsting for vengeance, Abu
+Saïd procured arms and soldiers at Granada, and, invading Morocco, drove
+his perfidious brother from the throne. Thereafter he was the sworn ally
+of the Sultan of Granada, whom Castile and Aragon no longer ventured to
+trouble. Yusuf III. passed away in 1417.
+
+The history of Granada is henceforward one of almost continuous
+revolution and tumult. Mohammed VIII. was driven into exile by a
+namesake reckoned as the ninth of his name, and then restored by a
+counter-revolution. A Castilian army ravaged the Vega up to the walls of
+the capital. Granada itself would have fallen, had not Juan II. and the
+great Constable, Alvaro de Luna, been recalled to Castile by the
+disorders which resulted in the latter’s overthrow. An earthquake
+desolated the distracted kingdom; and we may suppose that Mohammed VIII.
+was not altogether sorry when he abandoned his throne to a pretender and
+fled to Malaga.
+
+The new sultan, Yusuf IV., held his throne as a fief of Castile, the
+support of which he had to purchase with humiliating concessions. He
+anticipated inevitable assassination by dying after sixteen months of
+authority; and for the third time, Mohammed VIII. was proclaimed at
+Granada (1432). Hostilities with Castile were at once renewed. This time
+the fortune of war was with the Moors, who routed their opponents at
+Illora, Archidona, and Castril. But Mohammed VIII.’s star was never long
+in the ascendant. He quarrelled with the powerful family of the
+Abencerrages; and, deprived of their support, was finally expelled from
+his kingdom, by his kinsman, Aben Osmin.[B] The usurper was victorious
+over the Christians and took several strongholds, but his army suffered
+at last a bloody defeat at Alporchones. This reverse seems to have
+maddened Osmin, who henceforward conducted himself as a tyrant of the
+old Roman type. Revolutions had now become as frequent in Granada as in
+some South American states. The usurper ran his brief career, and was
+then forced to make room for Mohammed VIII.’s cousin Saïd. Granada was
+all for peace. Tribute was paid to Enrique IV. of Castile, Christian
+captives released--all in vain. The intermittent warfare went on as
+before. Jaen, Archidona, Gibraltar, were lost, despite the desperate
+valour of the Prince, Muley Hassan, and of the Chieftain, Ibrahim, who,
+on being vanquished, plunged on horseback into the depths of a ravine.
+At last, however, the distracted Ibn Ismail obtained peace for his
+wretched country by a personal interview with Enrique, outside the walls
+of Granada. He devoted the remainder of his reign to the encouragement
+of commerce, industry, and agriculture in his dominions--labour that did
+not benefit even those who were to succeed him; and died at Almeria in
+the year 1465. The knell of the Moorish Empire in Europe was sounded
+over his bier.
+
+The reigns of Ali Abu-l-Hassan, Mohammed XI. (Boabdil), and Mohammed
+XII. (Az-Zaghal) covered the years 1465-1492, during which the downfall
+and extinction of the kingdom were accomplished. The history of these
+events has already filled many bulky tomes, and has been made familiar
+to English readers by the works of Prescott. Even our brief survey,
+however, cannot be concluded without a summary of the last chapter of
+the story of Granada.
+
+The character of Muley Ali Abu-l-Hassan was the reverse of his
+predecessor’s. He was arrogant, impetuous, and warlike, a fanatical
+hater of the Christians, and a zealous Muslim. In the first years of his
+reign he gained some successes over the feeble Enrique IV., and proved
+himself strong enough to quell a revolt at Malaga. But he let slip the
+opportunity of attacking the new sovereigns of Spain, Ferdinand and
+Isabel, when they were engaged in war with the partisans of “La
+Beltraneja,” nor did he make any attempt to effect an alliance with
+their numerous enemies. State-craft does not appear to have been
+possessed to any great extent by the descendants of Al Ahmar. In 1476,
+Abu-l-Hassan condescended to sue for a renewal of the alliance with the
+Queen of Castile; but when Ferdinand of Aragon made the payment of the
+tribute stipulated by Ibn Ismail a condition of the treaty, the Moor’s
+proud nature revolted. “Return to your sovereigns,” he said to the
+Spanish ambassadors, “and tell them that the sultans who paid tribute to
+the Christians are dead; that here we manufacture only iron spear-heads
+for our enemies.” These words sealed the fate of the Moors in Spain,
+though the ruler who uttered them probably thought them merely the
+prelude to just such a frontier war as had raged intermittently for so
+many years.
+
+The first act in the long-drawn-out drama was the capture of Zahara by
+the troops of Granada, in 1481--provoked by the predatory incursions of
+the Marquis of Cadiz. The Christian garrison was surprised during a
+furious tempest, and put to the sword. The rest of the inhabitants were
+carried off in captivity to Granada. Abu-l-Hassan, inflated with pride,
+returned to his capital. There were popular rejoicings, but the wiser
+Moors shook their heads and predicted that the ruins of Zahara would
+fall upon their own city.
+
+The fiery chivalry of Andalusia were not slow to retaliate. Two months
+after the capture of Zahara, the more important Grenadine stronghold of
+Alhama was taken by storm by the forces of the Marquis of Cadiz. The
+news produced the utmost consternation in Granada. Abu-l-Hassan at once
+set out with 53,000 men, and invested the place. Ferdinand the Catholic,
+who had now conceived the idea of reducing the whole kingdom of Granada,
+hurried to its relief; but he had only reached Lucena when tidings
+arrived of the raising of the siege by the Marquis’s hereditary foe, the
+Duke of Medina Sidonia. Abu-l-Hassan returned to the attack a few weeks
+later, and Ferdinand resumed his advance, before which the Moors
+retired. The Catholic sovereigns made their triumphal entry into Alhama
+on May 14, 1482.
+
+Great preparations were made throughout Castile and Aragon for the
+prosecution of the war, but the army actually assembled before Loja on
+July 1--16,000 men--fell far short of Ferdinand’s requirements and
+expectations. The town was ably defended by one of the bravest Moorish
+chieftains, Ali Atar, who repulsed the Christians with severe loss. The
+King of Aragon narrowly escaped with his life, and was compelled to beat
+a retreat. Abu-l-Hassan swept the country as far as the Rio Frio.
+
+Such a success, if it had been followed up, might have turned the scale
+in favour of the Moors. But at Granada, treason always followed closely
+on the heels of victory. Years before, a beautiful Christian captive,
+Doña Isabel de Solis, daughter of the Governor of Martos, had been added
+to the Sultan’s harem. Under the name of Zoraya, in the course of time,
+she bore him a son, Abu Abdullah, and rose to the rank of favourite
+Sultana.[C] Now, jealous, it is said, of a Greek slave, or perhaps
+antagonised by the first Sultana, Ayesha, she fomented a conspiracy
+against her aged lord, and was imprisoned with her son in the Alhambra.
+Thence they contrived to escape, and, exciting the populace in their
+favour, obliged Abu-l-Hassan to seek refuge at Malaga. Abu Abdullah,
+better known as Boabdil, or el Chico (the little), reigned in his stead,
+but Baza, Guadix, and other eastern towns remained faithful to their old
+allegiance.
+
+These dissensions among the Moors, though ultimately benefiting the
+Spaniards, contributed indirectly to one of the most serious disasters
+that befell the latter during the campaign. For an expedition against
+Malaga, headed by the Marquis of Cadiz and the Grandmaster of Santiago,
+while threading its way through the passes of the Ajarquia, was attacked
+by the lieutenants of the old lion, Abu-l-Hassan, and cut to pieces.
+Eight hundred Spaniards were left dead on the field. Boabdil, emulous of
+the glory his father had acquired, marched out of Granada with 9700 men,
+and gave battle to the enemy under the Count of Cabra, near Lucena. The
+Moors were totally defeated, their bravest general, Ali Atar, was slain,
+and Boabdil himself captured by a private soldier, named Martin Hurtado.
+
+Had this unlucky prince been left in the hands of his enemies, the war
+might have had a different result, but his mother and followers at once
+made proposals for his release. This was finally effected by a most
+dishonourable treaty. Boabdil was accorded a two years’ truce, covering
+all places that acknowledged his authority, and in return bound himself,
+not only to pay a tribute of twelve thousand golden ducats, but to
+assist with supplies the Spanish troops passing through his dominions to
+attack his own father. Having thus exchanged his honour for his liberty,
+the miserable Sultan returned to his capital, to find that the old King
+had possessed himself of the Alhambra. A collision between the two
+factions deluged the streets of Granada with blood. The alfakis and
+ancients at length arranged an armistice, and Boabdil was suffered to
+retire to Almeria, which was assigned to him as capital and residence.
+
+For the next four years, the Catholic sovereigns abstained from any
+important military demonstration, contenting themselves with ravaging
+the wretched country and harrying its frontiers with incessant forays
+and marauding expeditions. Meanwhile, a strong man appeared on the scene
+in the person of Abu-l-Hassan’s brother, Abdullah Az-Zaghal. Determined
+to put an end to the divisions which, more than the prowess of the
+Spaniards, were bringing about the ruin of his country, this prince
+swept down upon Almeria, slew the governor, took prisoner Zoraya, but
+failed, alas! to secure the person of Boabdil, who fled to Cordova and
+placed himself under Ferdinand’s protection. Not long after,
+Abu-l-Hassan, aged and worn out, abdicated in favour of his warlike
+brother, and died at Mondujar. This event strengthened Boabdil’s claims
+upon the tottering throne; and he entered into a compact with his uncle,
+whereby both were to reign in Granada, the one in the Albaicin, the
+other in the Alhambra. Anxious to redeem his reputation, the newly
+restored monarch attacked the Christians near Loja with vastly inferior
+forces. He was soundly beaten and forced to take refuge in the Alcazar
+of Loja, whence he was only allowed to emerge on renewing the
+humiliating treaty he had concluded at Cordova. He was not, however,
+disposed to yield the crown to his rival, and returning to Granada,
+surprised and seized the Alcazaba. One of the most desperate conflicts
+recorded in the history of the city then occurred between the partisans
+of the rival sultans. Further bloodshed was at last averted by the
+intervention of ambassadors sent by Ferdinand. The old dual arrangement
+seems to have been temporarily resumed. Meanwhile, Ferdinand and Isabel
+once more took the field, and, in 1487, they invested and captured
+Velez-Malaga and the important city of Malaga, notwithstanding
+Az-Zaghal’s efforts to relieve both places. The brave Sultan now
+abandoned the capital to his nephew, and established his headquarters at
+Almeria. He succeeded throughout the year 1488, in repelling an invasion
+of his province; but in the following year, after the fall of the strong
+city of Baza, he bowed, as he himself expressed it, to the will of
+Allah, and surrendered all the places in his possession, including
+Almeria and Guadix, to the Catholic sovereigns. Mohammed XIII., as he is
+styled by Moorish historians, retired to Algeria, where he died, years
+afterwards, in indigence and obscurity.
+
+There remained now, of all the Moorish dominions in Europe, but the
+single city of Granada, of which Mohammed XII., Boabdil, was at last
+undisputed sovereign. He formed the manly resolution to sell his
+hard-won crown as dearly as possible. He sallied from Granada, took
+Alhendin and Marchena by assault, and laid waste the country in
+possession of the Christians. Summoned by Ferdinand and Isabel to
+surrender the city in accordance with an alleged treaty, he replied, and
+probably with truth, that his proud and exasperated subjects would not
+permit him to do so. The population of Granada was swollen by refugees
+from all parts of the kingdom to thrice its normal figure. The Spanish
+king perceived that the surest method to reduce it was by blockade. With
+20,000 men, including some of the first chivalry of all Europe, he
+entered the Vega, and built the town of Santa Fé, almost at the gates of
+the threatened city. This permanent establishment of the Infidels on
+their native soil plunged the Moors into profound gloom. No ray of hope
+remained to the unfortunate Boabdil. The city endured the horrors of a
+famine. The Spanish fleet precluded all hope of supplies from Africa,
+towards which country the wretched people still turned in expectation of
+help. The negotiations for the capitulation which the Sultan most
+reluctantly entered upon in October 1491, had to be conducted, through
+fear of the populace, with profound secrecy. Indeed, at the last moment,
+Boabdil, in danger of his life, besought Ferdinand to accelerate his
+entrance into the city. On January 2, 1492, accordingly, the Moorish
+king, attended by fifty horsemen, surrendered the keys to the Catholic
+sovereigns on the banks of the Genil, passing on to the domain allotted
+him by the conquerors in the rocky Alpujarras. The story of his stopping
+to gaze for the last time on his former kingdom, and of the rebuke
+administered to him by his mother, is well known. We are not told
+whether his eye caught the gleam of the great silver cross hoisted over
+the Alhambra by Cardinal Mendoza by way of signal to the Spanish host
+that the occupation of Granada was completed and that the dominion of
+Islam in Spain was for ever at an end.
+
+It had endured seven hundred and eighty-one years--a period only sixty
+years short of that which has elapsed since the Norman Conquest of
+England. More remarkable still, the Sultanate of Granada had survived
+the virtual break-up of the Saracen empire by over two centuries. When
+we consider its limited area, its isolated position, the might and the
+inveterate hostility of the neighbouring states, and the attacks to
+which it was unceasingly subjected, we cannot but feel the liveliest
+admiration for the valour and sagacity of its rulers and the
+stout-heartedness of its people. Had not the Court been too often the
+theatre of contending factions, had not those factions turned their
+swords against each other, the Sultanate of Granada might have outworn
+Spain’s military and national vigour, and have endured to our own day as
+a western Turkey. For the spirit of Tarik, of Abdurrahman, and of
+Almansûr was not altogether dead, even in the brave but ill-starred
+sovereign to whom alone historians ascribe the downfall of the kingdom,
+and whom they, strangely enough, accuse of effeminacy and weakness. The
+Moors of Granada knew how to fight a losing fight; in gambler’s
+parlance, when they had lost the tricks, they struggled to win the
+honours. They proved themselves worthy of their ancestors; and the
+finest, as it was also the latest, monument of the Mohammedan dominion
+in Spain is Granada the noble and the memorable.
+
+
+
+
+THE ALHAMBRA
+
+
+The Alhambra, or Red Palace, the Acropolis of Granada, is the finest
+secular monument with which the Muslims have endowed Europe. It belongs
+to the last period of Spanish-Arabic art, when the seed of Mohammedan
+ideas and culture had long since taken deep root in the soil and
+produced a style which might more properly be called Andalusian than
+Moorish. If the Muslims left a deep impression upon Spanish thought and
+art, it must not be supposed that they altogether escaped the influence
+of their Christian neighbours. During the last two centuries of their
+occupation the rigid puritanism of their creed was greatly relaxed,
+especially as regarded art--always the reflection of the customs and
+spirit of a people. The wave of the Renaissance did not leave untouched
+the shrunken Moorish empire, and if Castilian kings did not hesitate to
+employ Muslim artisans in the construction of their cathedrals, the
+Sultans of Granada did not disdain the advice of Christian artists in
+the embellishment of their palaces. The Alhambra remains a thoroughly
+Mohammedan monument, but one which symbolises a phase of Mohammedan
+culture and institutions almost peculiar to one country and epoch.
+Nowhere else and never since has Islam reached such a pitch of
+refinement. The Alhambra stands as the high-water mark of its art and
+civilisation.
+
+There will never be produced a new Alhambra, any more than a new
+Parthenon or new Pyramids; for these great buildings were the
+expressions of ideas and aspirations peculiar to societies which have
+long ago perished. Thus, the Red Palace of Granada is not interesting
+merely as a Mohammedan edifice left isolated in the far west of Europe,
+but as the monument of a people and a civilisation long dead and gone. A
+sadness, too, attaches to it, proceeding from the memory of the violent
+extinction of that people with a mission unfulfilled--fraught, as it
+seems to have been, with so much of light and beauty to the Christian
+and the Muslim worlds.
+
+The Sierra Nevada thrusts forward a spur which overlooks Granada on the
+south-east, and is divided by two clefts or barrancos into three
+eminences. The easternmost of these is crowned by the Generalife, the
+westernmost by the ancient fortifications known as the Torres Bermejas
+or Vermilion Towers. The hill between the two--in shape aptly compared
+by Ford to a grand piano--is that on which the various buildings,
+collectively styled the Alhambra, are reared. Here there existed a
+settlement in remote Celtiberian days; and the later city of Illiberis
+or Elvira stood here, and perhaps extended to the Torres Bermejas. When
+the Moors came they erected a fortress--the Alcazaba--on the point of
+the Alhambra hill, overlooking the Vermilion Towers. To this they gave
+the name of _Alhamra_, “the red,” as Riaño thinks, to distinguish it
+from the Alcazaba in the Albaicin quarter, or perhaps from some
+confusion of the new building with the old. The builder, according to Al
+Khattíb, was one Sawar Alcaysi, who lived in the second half of the
+ninth century; though Contreras says it was known as the Tower of Ibn
+Jaffir, and Ford names Habus Ibn Makesen as the founder. At all events,
+the structure dated from the earliest period of the Arabic domination,
+and Al Ahmar found here, on taking possession of Granada, a small town
+girdled with walls and defended by a citadel.
+
+Al Khattíb refers to the Citadel of Granada in these terms: “The
+southern part of the city is commanded by the suburb of the Alhambra or
+Medina Alhamra, the court of the sultanate, crowning it with its
+turrets, its lofty towers, its strong bastions, its magnificent Alcazar,
+and other sumptuous edifices, which by their splendour ravish the eye
+and the soul. There is, too, such an abundance of waters that,
+overflowing in torrents from the tanks and reservoirs, they form on the
+declivity streams and cascades, whose sonorous murmurs are heard afar
+on. At the foot of the walls are spacious gardens, the domain of the
+Sultan, and leafy groves, through the dense greenery of which the white
+battlements gleam like stars. There is, in short, around the circuit of
+the walls, no spot that is not planted with gardens and orchards.” The
+scene has not greatly changed since the Arab wrote. Gurgling brooks
+still run down the slopes of the Alhambra Hill, and nightingales sing in
+the thick woods of elm.
+
+The Alcazaba, being the oldest part of the palace-fortress, should be
+studied first. It is entered by the Torre and Casa de las Armas, through
+a horseshoe arch in red brick, with fine azulejos or glazed tiles. To
+the left is the Torre de Homenage, with which war and time have not
+dealt too gently. It contains, it is interesting to note, a Roman votive
+altar, embedded by the Moorish builders in the masonry, and inscribed by
+“the grateful Valerius to his most indulgent wife, Cornelia.” At the
+opposite extremity of the Alcazaba is the Torre de la Vela, or Watch
+Tower. It is in two storeys, communicating by a dark and narrow
+staircase, with loopholes in the wall.[D] In this tower is hung a
+famous bell, to be heard, it is said, at Loja, thirty miles away. It is
+rung on the anniversary of the Conquest of Granada, on which day it is
+the custom, according to local superstition, for damsels, desirous of
+husbands, to strike it with all their strength. On the summit of this
+tower the cross was first planted by _el tercer rey_, Cardinal Mendoza.
+The view from the platform, of city and snow-clad Sierra, luxuriant
+Vega, and white-walled towns and villages, is as extensive as it is
+beautiful. At the foot of the Torre de la Vela extends the place of
+arms, defended by two towers, now styled de los Hidalgos and de la
+Polvora, and formerly known as the Paniagua and Cristóbal del
+Salto--names suggesting legends now forgotten.
+
+An ancient document at Simancas names among the towers connecting the
+Alcazaba with the rest of the fortress, the Torre del Adarguero, “the
+Tower in which dwelleth the servant of Doctor Ortiz,” the Torre de
+Alquiza, the Torre de Hontiveros (now the Torre de las Gallinas), and
+the Tower and Room of Machuca. Of these remains exist, but of another
+tower, referred to as the Torre de la Tahona, no trace remains.
+
+The Alcazaba, according to the most recent researches, was separated
+from the site of the palace by a ravine where, after the Conquest,
+cisterns were constructed by order of the Conde de Tendilla and over
+which the existing Plaza de los Algibes was formed. These works appear
+to have necessitated the demolition of a wall which ran across from the
+Torre de las Gallinas on the north to the beautiful Puerta del Vino on
+the south. This gateway is now quite isolated from the wall of
+circumvallation. Over the horseshoe arch is an inscription in stucco, of
+the usual Moorish character, invoking the Divine protection for the
+builder, Sultan Mohammed V. It appears to commemorate some striking
+victory. Over the arch again is a fine double window or ajimez. On the
+keystone is seen the key, so often figuring as a symbol in all parts of
+the Alhambra, with a G in Kufic characters--perhaps the initial letter
+of the city. The interior façade has a large horseshoe arch and the
+twin-windows above. The Puerta del Vino was probably the entrance to the
+courts and gardens of the palace.
+
+Having crossed the Plaza de los Algibes, we leave behind us the early
+Moorish works, and approach the buildings which owe their foundation to
+the Nasrite or Grenadine dynasty. The story which credits Al Ahmar
+(Mohammed I.) with the creation of the Red Palace in the middle of the
+thirteenth century appears to be well-founded, for when the Alhambra is
+referred to as existing in earlier times, it is undoubtedly the Alcazaba
+that is meant. To the same hands may be safely attributed the great
+outer wall of the Alhambra which girdles palace and fortress, following
+the inequalities of the hill’s contour. Al Ahmar has left his device,
+_Wa ha ghalib ila Allah_ (There is no conqueror but God), in many parts
+of the building. These words were uttered by him in mournful deprecation
+of the acclamations of his subjects on his return from assisting the
+Christians in the Conquest of Seville. During the two and a half
+centuries of the Nasrite rule, the palace underwent many radical
+transformations and renovations, so that it is difficult to distinguish
+between the works of the various sultans. Ford infers, rightly as it
+seems to us, from the frequent repetition of their names upon the walls,
+that Yusuf I. and Mohammed V. had the largest share in the embellishment
+and restoration of the edifice. Since the Reconquest many changes and
+additions have been made--notably the Palace of Charles V., to which
+detailed reference will be made later.
+
+The summit of the Alhambra hill was probably peopled in Al Ahmar’s time,
+and it continued to be so during the reigns of his successors. The
+population thus dwelling at the foot of the throne was mainly composed,
+in later times at least, of hangers-on at the Court, ex-favourites and
+discarded sultanas, ulemas and doctors of the law, soldiers of fortune,
+and ambassadors, permanent and extraordinary. Such powerful tribes as
+the Beni Serraj, which exercised so much influence in the last stages of
+Nasrite rule, would also have had quarters for their leaders here. The
+little town--which seems to have had no parallel before or
+since--extended from the eastern extremity of the hill to within as near
+the doors of the palace as the temper of the monarch for the time being
+may have permitted.
+
+The precise limits of the palace, even at the time of the Conquest of
+the Catholic sovereigns, have never been ascertained. Portions of it
+were undoubtedly demolished to make room for the palace of Charles V. On
+the other hand, it is recorded in the archives of the Alhambra that
+various private houses were acquired for the purpose of enlarging the
+older building. But making due allowance for demolitions, extensions,
+and restorations since the fifteenth century, we have before us in the
+Palace of the Alhambra a magnificent example of the last or third period
+of Hispano-Arabic architecture.
+
+On the general plan of the edifice, the remarks of Contreras are worth
+quoting _in extenso_: “We penetrate into every Arabic monument through
+an outlying tower, or between two towers, except in the dwelling-houses
+of the people, in which case the entrance is by a small, square opening,
+a portal useless among us, though seen with frequency in the ancient
+houses of Andalusia. A long, narrow hall cuts the axis perpendicularly,
+thus determining the distribution into two wings of the edifice. By the
+meeting of the two axes is found the entrance, before which we find
+those effects of perspective which are so fantastic in these buildings.
+Following the ingress we find a court with tanks and fountains, with
+light and graceful arcades. Behind the second gallery, following the
+same central axis, are oblong naves which cross each other at right
+angles to the extreme end of the building, where the cupolas or turrets
+of the innermost dwelling apartments rise majestically above the level
+of the edifice and are reflected in the waters of the basins. The halls
+of a house of this kind, according to its rank or grandeur, were
+arranged in little pavilions on the long sides of the courts, as various
+in their style of decoration as the tents of a Turkish camp, where the
+quarters of an Amir may be found beside those of the common soldiers.
+And if these rows of chambers are now found disposed according to the
+strict alignment of Mudejar eaves, it is an indication that the severe
+genius of the Christian conquerors has transformed them, not permitting
+those crests, cupolas, or steeples which disturb the symmetry of the
+decoration.
+
+“Outside this plan, absolutely classical, which we may compare to a
+cross with the transverse arm prolonged and cut at various distances by
+perpendicular arms parallel to each other, but of different length, the
+Spanish Arabs found no other easy method of building, so that, while
+diminishing or prolonging the arms of the axis as much as the
+dependencies of the largest palaces might require, they never departed
+from the system, wherever they might build.... This, then, is the true
+scheme of the Alhambra, and it is quite other than that conceived by the
+classicists of the eighteenth century, with its façades, angles, and
+squares.”
+
+It must, however, be admitted that order is much more conspicuous in the
+decoration than in the ground plan of the palace. All Moorish
+ornamentation is based on a strictly geometrical scheme, and every
+design may be resolved into a symmetrical arrangement of lines and
+curves at regular distances. The intersection of lines at various angles
+is the secret of the system. All these lines flow from a parent stem,
+and no figure or ornament is introduced at random. Moslem ornamentation
+abhors irregularity and rejects symbolism. The law of Islam which
+forbade the delineation of living objects was not, however, always
+observed in this palace of half-Europeanised Arabs.
+
+Simplicity and a love of the elementary characterise also the colouring
+of the decorations. On the stucco work only the primary colours were
+used: blue, red, and yellow. The secondary colours occur only in the
+dados of mosaic. The green groundwork of much of the ornamentation as it
+is to-day was formerly blue, time having changed the tint of the
+metallic pigment employed. The decoration of the surfaces seems to have
+been planned with strict regard to the colouring they were to receive.
+Both as regards decoration and colour, allowance must always be made for
+innovations since the Alhambra passed into Christian hands.
+
+“Let us look for a moment,” writes Mr. John Lomas, “at some points of
+detail--more especially of the ornamentation. Wherever the eye falls, it
+may rest upon some fine bit of arcading or peristyle, so delicate in the
+transparent tracery of its spandrils, in the rich work of its capitals,
+and its slenderness of pillar, that one marvels at first how such
+fairy-like construction could stand for even a single generation.
+‘Lovers’ tears’ they call this lace-work, and they tell one to stand
+just within the dim hall or vestibule, and get a vision of the blue sky
+that appears beyond as a little cloud of sapphires. But it is surely
+better--an insight into a piece of truer art--to stand outside the
+eastern kiosk of the Lion’s Court and looking through spandril,
+vestibule, and sala, catch the light glinting through the distant
+opposite windows. That is transparency of effect, indeed! One would like
+to meet with the architect who thought it out.
+
+“Some of the irregularities which obtain here seem almost incredible.
+What could be more satisfactory than this range of exquisite arcading,
+its slender palm-like stems, its gracefully stilted arches, and the
+fairy filigree-work of the spandrils? There seems to be not one single
+point that can offend the justest eye, and yet there are nearly a dozen
+different archings, differing in form, or height, or width; the cloister
+varies in breadth at every turn; the upper galleries are uneven; the
+doorways are the personification of self-will; the columns are placed,
+sometimes singly, sometimes grouped, and the numbers of them on the
+respective sides in no way correspond.... And, nevertheless, there is an
+all-prevailing symmetry--and harmony. The whole is a triumph of
+accurately judged effect.”
+
+In a foot-note Mr. Lomas adds: “As an instance of the careful way in
+which the architects of these olden days went to work, it may be
+mentioned that the exact relation between the irregular widths of
+cloistering on the long and short sides of the court is that of the
+squares upon the sides of a right-angled triangle. This obtaining of
+beautiful symmetry through irregularity is a strangely lost art.”
+
+We will now proceed to a more detailed description of the Palace of Al
+Ahmar.
+
+
+THE PATIO DE LA MEZQUITA AND ADJACENT BUILDINGS.
+
+Recent researches have shown that the ancient ingress to the Palace of
+the Alhambra was by a doorway leading into what is now the chapel. It is
+square in shape and has long been walled up. Above it may be deciphered
+the following inscription: “O place of the high kingdom and asylum of
+prodigious aspect! Thou hast achieved a great victory, and the merits of
+the work and of the artificer [are] the glory of the Imam Mohammed. The
+Shadow of the Most High [be] upon all!” This text is believed to refer
+to Mohammed III. (1302-1309).
+
+The chapel, which had been established by Ferdinand and Isabel adjacent
+to the Patio de los Leones, was transferred to this part of the Palace
+of Philip IV. in 1621. At that time a fine chimney-piece in the
+Renaissance style was converted into an altar. The apartment contains
+but few remains of its Moorish builders. Without, is the Patio de la
+Mezquita, with an exquisite façade, much disfigured by a modern
+gallery. The walls are adorned with the oft-recurring device, “God alone
+is Conqueror,” and with sentences extolling the sultans, in various
+sorts of arabesques. The inscription round the central window refers to
+Mohammed V. (1354-1391).
+
+The grand Mosque of the Alhambra was built in 1308 by Mohammed III., and
+was in good preservation until the occupation of the French, who,
+according to Gayangos, entirely destroyed it. An account of it has been
+left to us by Ibn-ul-Khattíb, the Wizir of Yusuf I.: “It is ornamented
+with mosaic work and tracery of the most beautiful and intricate
+patterns intermixed with silver flowers and graceful arches, supported
+by innumerable pillars of polished marble; indeed, what with the
+solidity of the structure which the Sultan inspected in person, the
+elegance of the design, and the beauty of the proportions, the building
+has not its like in this country, and I have frequently heard our best
+architects say that they have never seen or heard of a building which
+can be compared with it.” Little more remains of this superb temple than
+the small oratory entered through a door in the wall opposite the altar
+of the chapel. Here the _mihrab_ is still to be distinguished. Before
+it, Yusuf I., in the act of prayer, fell a victim to the poniard of an
+assassin in the year 1354.
+
+Adjacent to the _mihrab_ is the ruined tower of Puñales, which presents
+many architectural points of difference from the rest of the palace, and
+has features which may have suggested these characteristics of the
+Mudejar style seen in other parts of Andalusia. The principal window of
+the tower was furnished with a wooden balcony with lattices similar to
+those seen in Constantinople and Cairo.
+
+Retracing our steps across the Patio de la Mezquita, we reach the
+spacious Court of the Myrtles or of the Fish-pond (Patio de los
+Arrayanes, or de la Alberca). This is the court first entered by the
+visitor through the modern entrance. It is one of the most beautiful
+parts of the palace, and gives a foretaste of the glories that lie
+beyond. One feels immediately transported to the East. “The originality
+of the architecture [says Don Francisco Pi Margall], the airy galleries,
+its rich _alhamis_ or alcoves, the splendid apartments of which glimpses
+are obtained through its arches, the fountains and foliage, the
+reflection of its stuccoed walls in the waters of the pond, the murmur
+of the breezes that agitate the dense myrtles, the transparency of the
+sky, the silence that reigns all about--all oppress the soul at the same
+time, and leave us for some moments submerged in a sea of sensations
+which reveal to us little more than the harmony of the whole scene.”
+The court forms an oblong, bounded at the north and south by two
+galleries supported on eight columns of white marble, and to the east
+and west by walls pierced with doors and twin-windows covered with
+arabesques, but differing in degree of ornamentation. At each angle we
+find an _alhami_ or alcove, where the Moors were accustomed to laze away
+the day, extended on rich carpets and divans. The walls of these little
+places are encrusted with reliefs in stucco, their roofs are of the
+stalactite pattern. Along the middle of the court extends the _alberca_
+or fish-pond, its margins hidden by orange trees and myrtles. The clear
+water gushes up into two round basins at either end. To the north, the
+prospect is closed by the battlemented Tower of Comares, to the south by
+the walls of the Palace of Charles V. Through one of the entrances can
+be seen the fountain in the Patio de los Leones. The court is redolent
+of the languor, voluptuousness, and splendour of the East.
+
+Each arcade is composed of seven semicircular arches, the central one
+reaching up to the cornice, while the others, much lower, are closed
+with perforated woodwork or lattices. The roof of the southern gallery
+is of artesonado or troughed form, and bears seven small cupolas; over
+the central arch of the northern gallery is a single cupola painted with
+little gold stars on a blue ground.
+
+In this court there are numerous inscriptions, of which the following
+are the most important.
+
+“Go and tell true believers that Divine help and ready victory are
+reserved for them.”
+
+“I am like the nuptial array of a bride, endowed with every beauty and
+perfection.”
+
+“Truly Ibn Nasr is the sun, shining in splendour.”
+
+“May he continue in the noontide of his glory even unto the period of
+his decline.”
+
+In the Patio de la Alberca is an arch differing altogether from all
+others in the Palace. Only one surface is decorated, and that with a
+principal or guiding figure made out by colours. The ornaments
+approximate more closely than is usual in Moorish architecture to
+natural forms, and the arch has very much of a Persian character.
+
+This court is believed to have constituted the division between the male
+apartments, frequented by the general public, which we have already
+described, and the _Harem_, or private quarters, including the Patio de
+los Leones, &c.
+
+We pass through a beautiful arch decorated with tasteful floral designs,
+into the Sala de la Barca, or ante-room of the Hall of Ambassadors. This
+fine apartment, formerly radiant with colours, was seriously damaged in
+the fire of 1890. The ceiling of this hall, says Owen Jones, “is a
+wagon-headed dome of wood of the most elaborate patterns, receiving its
+support from pendentives of mathematical construction so curious that
+they may be rendered susceptible of combinations as various as the
+melodies which may be produced from the seven notes of the musical
+scale; attesting the wonderful power and effect obtained by the
+repetition of the most simple elements.”
+
+Beyond this hall rises the Tower of Comares, appearing to rest on the
+slenderest pillars and almost to be balanced in the air. The real
+supports have been purposely kept out of sight. The view from the summit
+of the massive battlemented tower is magnificent. From this platform,
+Washington Irving remarks, the proud monarchs of Granada and their
+queens have watched the approach of Christian armies, or gazed on the
+battles in the Vega. The walls of the tower are of surprising thickness.
+
+The interior, which is a square of 37 ft. by 75 ft. high up to the
+centre of the dome, is occupied by the Sala de Embajadores, the
+reception-room of the Sultans. It is the largest and perhaps the most
+imposing of the halls of the Alhambra. Lifting our eyes, we behold a
+glorious, airy dome, of artesonado work, with stars and painted angles.
+Owen Jones is of opinion that the present ceiling replaced an earlier
+one, which was supported by an arch of brick. The hall lacks its former
+pavement of marble, its central fountain, and the lattices that filled
+in its twin-windows. But it is still adorned by a beautiful mosaic dado
+(known as _sofeisfa_) reaching to the wooden cornice. Numerous are the
+Kufic and African inscriptions introduced into the decoration, the motto
+of Al Ahmar being frequently repeated. Opening on to the hall are nine
+alcoves, each with twin-windows, which have replaced balconies. The
+alcove opposite the entrance was the site of the Sultan’s throne, as the
+long poetical inscriptions testify. What gorgeous assemblies must have
+filled this saloon in bygone years--and what tumultuous scenes and
+fateful decisions must have been here enacted!
+
+
+THE PATIO DE LOS LEONES AND ADJACENT APARTMENTS.
+
+The Patio de los Leones (Court of the Lions) occupies, with the chambers
+opening on to it, the south-eastern quarter of the Palace. “There is no
+part of the edifice that gives us a more complete idea of its original
+beauty and magnificence than this,” says Washington Irving, “for none
+has suffered so little from the ravages of time. In the centre stands
+the fountain famous in song and story. The alabaster basins still shed
+their diamond drops; and the twelve lions, which support them, cast
+forth their crystal streams as in the days of Boabdil. The
+architecture, like that of all other parts of the palace, is
+characterised by elegance rather than grandeur; bespeaking a delicate
+and graceful taste, and a disposition to indolent enjoyment. When one
+looks upon the fairy tracery of the peristyles, and the apparently
+fragile fretwork of the walls, it is difficult to believe that so much
+has survived the wear and tear of centuries, the shocks of earthquakes,
+the violence of war, and the quiet, though no less baneful, pilferings
+of the tasteful traveller: it is almost sufficient to excuse the popular
+tradition, that the whole is protected by a magic charm.”
+
+The court is an oblong measuring 116 ft. by 66 ft. On each side is a
+peristyle or portico, and at either end a graceful pavilion with a fine
+dome. The supporting marble columns are 124 in number and 11 ft. high.
+They are placed irregularly, sometimes singly, sometimes in pairs--an
+arrangement which does nothing to mar the general impression of harmony.
+The arches exhibit a similar variety of curve, and spring from capitals
+decorated with rich foliage of various designs. The space above the
+arches is filled in with the usual arabesque work, and adorned with
+verses from the Koran. The ceilings of the porticos are enriched with
+delicate stucco work, and the walls are covered to a height of five feet
+with a dado of blue and yellow azulejos, bordered with blue and gold
+enamelled escutcheons bearing an Arabic motto on a bend.
+
+In the centre of the court is the fountain from which it derives its
+name. This is composed of two basins (in Moorish times there was but
+one) supported by twelve marble lions. These Arabian sculptures, remarks
+Ford, are rudely but heraldically carved, and closely resemble those to
+be seen supporting Norman-Saracenic tombs in Apulia and Calabria. “Their
+faces are barbecued, and their manes cut like the scales of a griffin,
+and their legs like bedposts, while a water pipe stuck in their mouths
+does not add to their dignity.” Indeed, the consolatory reminder
+contained in the tremendously long inscription round the basin, that
+there is nothing to be feared from these creatures, for “life is wanting
+to enable them to show their fury,” seems ludicrously unnecessary. As
+specimens of Arabian sculpture they are in all probability unique; the
+builders of the Alhambra were evidently not over-strict in the
+observance of their religion. The inscription referred to has been
+versified by Valera, and runs into forty-four lines of Castilian.
+
+On the south side of the Patio de los Leones is the Sala de los
+Abencerrages (Hall of the Beni Serraj), so called because it is believed
+to be the scene of the massacre of thirty-six chiefs of that tribe by
+order of Boabdil. A reddish vein in the marble flooring is pointed out
+as the victims’ indelible bloodstains. The story has only the slenderest
+historical foundation, and was first circulated by a writer of the name
+of Ginés Perez de Hita, who lived in the sixteenth century. According to
+some, the usurper Aben Osmin (1446) was beheaded here by order of the
+prince Muley Hassan; but others, writing of that confused period of
+Granadine history, say the tyrant fled to the mountains. This chamber,
+perhaps the most elegant in the Alhambra, does not seem a likely place
+for deeds of blood. It is entered through a wonderfully graceful arch,
+growing out of, rather than springing from, marble shafts. The chamber
+is a square, prolonged on the east and west by two _alhamis_ or alcoves,
+which are entered through exquisitely-curved arches. But the glory of
+the Sala de los Abencerrages is its roof--its plan like that of a star,
+with pendants or stalactites, and sixteen windows in its vaultings.
+
+“Its thousand stalactites,” writes Don Francisco Pi Margall, “its
+colours, its innumerable archings, its crowns of stars, its complicated
+depressions and projections, its cones, its polygons, its accidents of
+light, the effects of chiaroscuro, present it at first sight as
+something confused, indefinable, indecipherable, resplendent, and vague,
+like that broad band, the Milky Way, which crosses the pavilion of the
+heavens. Yet in reality it is most regular, although irregular in
+appearance; the compass of the geometrician had more to do in planning
+it than the genius of the artist; but its lines are so many, and their
+combinations change so rapidly, that the scheme is only to be
+comprehended after a long and patient study.”
+
+The azulejos which face the walls date from the time of Charles V. In
+the centre of the hall is the marble basin beside which the Beni Serraj
+are fabled to have been slain.
+
+Opposite this hall, on the north side of the Lions’ Court, is the Sala
+de las Dos Hermanas (or, of the Two Sisters), so called after two twin
+slabs of marble let into the pavement. An exquisite arch gives
+admittance from the court to a narrow corridor, which communicates on
+the right with the upper storey, and with the mirador or latticed
+balcony, from which the ladies of the Harem would gaze into the _patio_
+below. The hall is as rich, as graceful, as suggestive of Eastern luxury
+and repose as that which we have just left. In each wall is an arched
+opening, two being entrances, the others admitting to alcoves somewhat
+more shut off than in other parts of the Alhambra. Above each arch is a
+window corresponding to the apartments in the upper storey, now
+vanished. The roof exhibits the same marvellous combinations of
+geometrical forms, the same confused symmetry, as are seen in the Sala
+de los Abencerrages. Indeed, this hall is generally (but not
+universally) considered the more admirable of the two. The surface of
+the walls is hidden beneath costly reliefs of stucco and azulejos.
+Inscriptions on the sixteen medallions and cartouches have been
+deciphered into a long poem by Ibn Zamrek, composed in honour of
+Mohammed V., and translated into eleven verses of Spanish by Valera. One
+verse exhorts us “to look attentively at my elegance and reap the
+benefit of a commentary on decoration; here are columns ornamented with
+every perfection, the beauty of which has become proverbial.”
+
+In this magnificent apartment formerly stood the famous vase (_el
+jarron_), which tradition says was discovered in one of the subterranean
+chambers of the Palace, full of gold. It is now in the little Alhambra
+Museum. The vase, which dates from the fourteenth century, and is
+beautifully enamelled in white, blue, and gold, is described by Baron
+Davillier in his work on Spanish Pottery.
+
+Beyond the Hall of the Two Sisters is a long, narrow apartment called
+the Sala de los Ajimeces (Hall of the Twin Windows). Its ceiling and
+decorations are little inferior to those of the larger hall. On the
+north side opens the exquisite Mirador de Lindaraja, or
+prospect-chamber, affording a delightful view of the garden beyond. In
+wealth of detail and ornamentation, this little bower of fifteen by ten
+feet surpasses all other parts of the Palace. In Moorish days the
+Sultanas could look from behind the lattices of the three windows across
+the town and the plain of the Vega. When their eyes wearied of the
+prospect they could scan the numerous poetical effusions traced upon the
+walls.
+
+Returning to the Patio de los Leones, we enter, at its eastern
+extremity, the Sala del Tribunal, or de la Justicia. This hall consists
+of seven chambers opening on to a common vestibule. The four small rooms
+are square, and are separated by three larger oblong apartments. The
+same gorgeous colouring, the same profusion of geometrical
+ornamentation, here as elsewhere in the Alhambra! The arch over the
+central small chamber, or divan, is perhaps the finest in the whole
+Palace. But what renders this hall the most remarkable in the edifice is
+that it contains what are probably the only existing specimens of
+mediæval Muslim figure painting. The ceiling of the central alcove or
+_alhami_ is adorned by a painting representing ten personages, who were
+formerly supposed to be judges, whence the name given to the hall. They
+were intended, more probably, to represent the first ten sultans of the
+Nasrite dynasty. The painting, like those in the other alcoves, is done
+in bright colours (gold, green, red, &c.) on leather prepared with
+gypsum. The designs appear to have been sketched in brown. The paintings
+in the other _alhamis_ are of an even more interesting character. In the
+first, a castle with square towers and battlements is seen; outside it
+is a lion led in chains by a maiden, whose hands are rudely grasped by a
+savage with shaggy hair and beard. A rescuer hurries to her assistance
+in the person of a Christian knight, armed _cap-à-pie_. On the other
+side of the picture, the same knight is shown attacked by a Moorish
+cavalier, who plunges a lance into his breast. The Moor is evidently out
+hunting, for beneath the combatants’ horses his dogs are chasing the
+wild boar and fox. From the towers of the castle two fair ladies
+observe, with evident pleasure, the Christian’s overthrow. In another
+part of the picture both knights are shown, following the chase; and a
+page is seen, leaning against a tree, with sword and shield, presumably
+awaiting his master’s return.
+
+The second painting is entirely devoted to hunting scenes. Moors are
+seen chasing the wild boar, while the Christians occupy themselves with
+bears and lions. The huntsmen are also seen returning and offering the
+spoils of the chase to their ladies. The Moor greets his sultana with a
+benign and condescending air; the Christian warrior kneels to the lady
+and offers his prize.
+
+The most competent critics have now arrived at the conclusion that these
+paintings are of the fourteenth century, and therefore executed under
+the Muslim sovereigns, in defiance of the precepts of the Koran. Whether
+they were the work of a Mohammedan it is not so easy to say. Gayangos
+has pointed out remarkable similarities between these paintings and
+those in the Campo Santo at Pisa; and on the whole it is probable that
+they were executed by an Italian artist, whom the Muslims may not have
+scrupled to employ to do a thing for them unlawful. A parallel instance
+of casuistry is that of London Jews, who on certain feasts employ
+Christians to perform forbidden menial offices. It should also be said
+that in the opinion of some modern Muslim doctors the prohibition of
+sculpture and painting is not to be taken as absolute.
+
+In the Sala de la Justicia was found a basin for ablutions, now in the
+Museum, on which are interesting reliefs of lions, deer, and eagles.
+According to the inscription, this was designed in 1305 for the service
+of the mosque, a fact which seems to support the view of the authorities
+just mentioned.
+
+It was in this hall that Ferdinand and Isabel caused Mass to be
+celebrated after the Reconquest, and here that the cross was set up by
+Cardinal Mendoza. The devices of the Catholic sovereigns--the Yoke and
+Sheaf of Arrows--have been introduced into the decoration of the
+alcoves.
+
+The ruinous tower and apartment to the south of the Hall of Justice,
+called the Rauda, appears to have been the mausoleum of the Sultans. The
+niches in which the _turbehs_ were placed may still be distinguished,
+and the long, narrow trough used for the purification of the corpse. In
+the Museum may be seen three tablets with the epitaphs of the Sultans
+Yusuf III. and Mohammed II. and of a prince Abu-l-Hejaj, probably the
+former’s son.
+
+Of the few remaining apartments of the Alhambra, the most interesting
+perhaps is the Tocador, or Queen’s Dressing-room, at the side of the
+Patio de Lindaraja, opposite the Mirador de Lindaraja. This was the
+apartment occupied by Washington Irving, according to his own showing:
+“On taking up my abode in the Alhambra, one end of a suite of empty
+chambers of modern architecture, intended for the residence of the
+governor, was fitted up for my reception. It was in front of the
+Palace.... I was dissatisfied with being lodged in a modern
+apartment.... I found, in a remote gallery, a door communicating
+apparently with an extensive apartment locked against the public.... I
+procured the key, however, without difficulty; the door opened to a
+range of vacant chambers of European architecture, though built over a
+Moorish arcade.... This fanciful suite of rooms terminated in an open
+gallery with balustrades, which ran at right angles with a side of the
+garden.... I found that it was an apartment fitted up at the time when
+Philip V. and the beautiful Elizabeth of Parma were expected at the
+Alhambra, and was destined for the Queen and the ladies of her train.
+One of the loftiest chambers had been her sleeping-room, and a narrow
+staircase leading from it ... opened on to the delightful belvedere,
+originally a mirador of the Moorish sultanas, which still retains the
+name of the _tocador_. I determined at once to take up my quarters in
+this apartment. My determination occasioned great surprise, but I was
+not diverted from my humour.”
+
+This exquisite apartment is adorned by four sixteenth-century paintings,
+representing the legend of Phaëton. On the artesonado ceiling, painted
+and gilded, may be read the invocation: “The help and protection of God
+and a glorious victory for our Lord, Abu-l-Hejaj, Amir of the Muslims!”
+Round the boudoir runs a gallery of nine arches on Arabic pillars,
+painted and decorated with the figures of Faith, Hope, and Charity,
+Justice, Strength, and Temperance, Jupiter, Neptune, Plenty, and the
+Vestals’ Fire. These paintings were the work of two Italians, Giulio
+Aquila and Sandro Mainere, both pupils of Raphael.
+
+The charming little garden or patio of Lindaraja or Daraja, which
+intervenes between this regal boudoir and the Moorish _mirador_, appears
+to have been originally called _Jin Dar Aja_, or garden of the palace of
+Ayesha. The old Moorish garden that used to extend as far as the Tower
+of Comares is now confined by the walls of the Sala de las Ajimeces and
+three arcades of modern construction. The fountain in the centre dates
+from the seventeenth century. An enchanting spot is this, with its
+cypress, orange, and citron-trees rising from trim hedges of myrtle and
+rose.
+
+Between this garden and the court of the Alberca lie the baths--those
+indispensable adjuncts to the Muslim household--most skilfully and
+artistically restored by Contreras. The plan is that usually followed
+throughout the East. Passing through the _Sala de las Cámas_ or Unrobing
+Room, where, from a high gallery the songs of the odalisques were wafted
+down to the sultan reclining in one of the alcoves, we enter the Sala de
+Baños, with its white marble bath and pavement of glazed tiles. This
+corresponds with the apartment called by the Arabs, the hararah, or
+vapour-bath, and described in Lane’s “Manners and Customs of the Modern
+Egyptians”; and it was under the graceful arcades which support the
+dome that the bathers underwent the kneading and rubbing processes
+lately introduced among us. The chamber is lighted from above through
+star-shaped apertures. The inscriptions refer to the felicity awaiting
+men in this palace of delight. The bathing-apartments consist of three
+halls and two smaller chambers, vulgarly called the Infantas’ Baths.
+
+
+THE TOWERS AND GATES OF THE ALHAMBRA
+
+“The wall of the Nasrites,” writes Señor Fernández Jiménez, “of which
+scarcely a patch remains unimpaired, measured about 1400 metres from one
+extremity to the other, and was defended by twenty-six towers, counting
+as one the two buttresses that defended the gate of the Siete Suelos. To
+this number should properly be added the Torre de las Armas, which is
+pierced by a gate common to the Alcazaba and Alhambra, and is therefore
+also a Nasrite work. The citadel was fortified, moreover, by five
+bastions, corresponding to as many gates, and by various external
+defences, of which traces remain in the modern alamedas. The thickness
+of the towers varies according to their situation and purpose, the
+distance between them ranging from 34 to 64 metres approximately.” At
+the present day we can count only fifteen towers, the names of which
+are: las Aguas, los Siete Suelos, las Cabezas, la Justicia, la Polvora,
+los Hidalgos, la Vela, las Armas, las Gallinas, los Puñales, las Damas,
+los Picos, del Candil, de la Cautiva, and las Infantas.
+
+The Puerta de la Justicia is the principal entrance to the Alhambra. It
+was built, as the inscription over the arch relates, by the Sultan Yusuf
+Abu-l-Hejaj, in 1348. Here justice was administered in Moorish days
+after the old patriarchal fashion. Above the arch is carved an open
+hand, the signification of which is a matter of controversy. The most
+probable explanation is that it is a religious symbol, the five fingers
+typifying Faith in God and the Prophet, and the commandments, to pray,
+to fast, to give alms, and to make the pilgrimage to Mecca. The inner
+arch is beautifully decorated with arabesques, and with the symbol of
+the key. The entrance is continued through another gate, with winding
+passages contrived so as to embarrass an enemy. The arch which gives
+egress from the tower shows some fine enamelling and festoons.
+
+Just outside this gate is the Pilar de Carlos V., a fountain in the
+Greco-Roman style, erected by the Alcaide Mendoza in 1545. It is
+ornamented with the Imperial arms, and sculptured heads of the river
+gods, Genil, Darro, and Beiro.
+
+The double Torre de los Siete Suelos flanks a gateway, now walled up,
+which was formerly the principal entrance to the fortress. Through it
+the unfortunate Boabdil is said to have passed on his way to exile and
+obscurity. The tower is so called because it is believed to descend
+seven storeys underground. Four subterranean chambers have been
+investigated. Here tradition places the site of much buried treasure,
+and fables are told of phantom guards and enchanted sentries.
+
+At the south-eastern angle of the _enceinte_ is the ruinous Torre del
+Agua, which derives its name from the aqueduct that at this point spans
+the ravine. On the north-eastern side we reach the Torre de las
+Infantas, the interior of which is a perfect model of the smaller
+Oriental dwelling-house. Through a small vestibule we reach a covered-in
+patio with a fountain in the centre, and alcoves opening out on three
+sides. The ornamentation is graceful and original. The tower is one of
+the most interesting parts of the fortress. Somewhat less complete and
+regular in its plan, but even more elegantly decorated with
+rose-coloured tiles, is the adjoining Torre de la Cautiva (Captive’s
+Tower). Here the inscriptions resound the praises of Abu-l-Hejaj and
+refer to the _Lion_ residing within these walls--a very different
+occupant from a captive!
+
+The Torre de los Picos seems to have been so styled from the peaked
+battlements which crown it. It evidently underwent extensive remodelling
+about the time of the Spanish Reconquest, but some relics of the Nasrite
+rule remain in the shape of some beautifully moulded twin windows.
+
+The Torre de Ismaïl, or de las Damas (Ladies’ Tower), was given by
+Mohammed V. to his son Ismaïl, and has a richly decorated belvedere and
+a hall very tastefully ornamented. The ruined tower of Puñales has some
+curious stucco decorations, differing from those found in other parts of
+the palace.
+
+Between the Torres de los Picos and de las Damas is a little _mihrab_ or
+oratory built on the wall. At the Reconquest it was appropriated to the
+private use of one Astasio de Bracamonte. Though it has undergone
+deplorable “restorations,” the _kiblah_ or easterly niche and other
+indications of the Muslim rite can still be made out. Strangely enough,
+the portal is guarded by two Moorish lions brought from the old
+Mint--the injunctions of the Mohammedan religion being thus ignored in
+its own temple!
+
+The parish church of Santa Maria, erected in 1581, occupies the site of
+the Mosque of which Al Khattíb appears to speak, writing of the deeds
+of Mohammed III. (1302-1309). “And among his great actions, the greatest
+and most remarkable was the construction of the great Mosque or Aljama
+of the Alhambra, with all that it contained of elegance and decoration,
+mosaics, and cements; as well as lamps of pure silver and other great
+marvels. In front of the Mosque were the baths, erected with the money
+levied from the Christians in his dominions. With the receipts from
+these baths the Mosque and its ministers were maintained.” The modern
+church is of brick, and contains nothing of note, except a Visigothic
+inscription, referring to the construction of three temples, dedicated
+to St. Stephen, St. John, and St. Vincent, in the years 594 and 607.
+
+
+THE PALACE OF CHARLES V.
+
+The forlorn, roofless palace in the classical style, which seems so out
+of place amid these Oriental buildings, was begun by order of the
+Emperor Charles V. in 1538. It was never completed. The Flemish Cæsar’s
+intention seems to have been to establish a permanent residence here,
+whence he could contemplate the beauties of the Moorish palace. The
+building is a quadrangle of four façades, each seventeen metres high.
+The lower storey is of the Tuscan order, the upper, Ionic. Some of the
+marble portals are very fine. In the decoration appear allusions to the
+campaigns, on sea and land, directed by the Emperor, his motto, _Plus
+oultre_, and the emblem of the Golden Fleece.
+
+The interior of the palace is occupied by an imposing circular court,
+with a gallery supported by thirty-two columns. The staircase is loftily
+designed, and altogether the palace, if it had been completed and built
+almost anywhere else, would have been a dignified memorial of Charles’s
+reign.
+
+
+
+
+THE GENERALIFE
+
+
+Across an ivy-draped ravine--a perfect study in green and red--the
+Palace of Recreations, the Generalife, overlooks the rugged walls of the
+Alhambra. The name is believed to have been derived from Jennatu-l’arif,
+“the garden of the architect.” The palace appears to have been built by
+a Moor called Omar, from whom it was purchased by the Sultan
+Abu-l-Walid. At the Reconquest it became the property of a renegade
+prince, Sidi Yahya, who adopted the name of Don Pedro de Granada, and
+whose descendants, the family of Campotejar, are to this day the actual
+owners.
+
+The Generalife cannot be regarded as an important monument of Moorish
+architecture. Through the central court, which measures 48.70 by 12.80
+metres, runs the conduit which irrigates the whole estate, and connects
+with the Acequia (or canal) de la Alhambra. The arcaded southern façade
+and the spacious hall adjoining have been altered in order to make a
+large vestibule. The arcade resembles that of the Court of the
+Fish-pond, and exhibits a poetical inscription declaring that
+Abu-l-Walid restored the palace in the year 1319.
+
+The halls of the Generalife are of little interest in themselves, and
+contain several portraits of doubtful authenticity. Those of Ferdinand
+and Isabel, of Juana la Loca and her husband, and of the fourth wife of
+Philip II., are the most important. Among the portraits of the Granada
+family is one supposed to be that of Ben Hud Al Mutawakil, the rival of
+Al Ahmar, and ancestor of Sidi Yahya. This seems to be the portrait
+which English travellers persist in mistaking for that of Boabdil.
+
+But if the palace is in no way remarkable, the gardens are a veritable
+bower of beauty and delight. Water bubbles up everywhere and moistens
+the roots of myrtles, cedars, and tall cypresses, the finest trees in
+all Spain. The legend of the Abencerrage discovered in dalliance with a
+Sultana, beneath one of these cypresses, is absolutely destitute of any
+sort of foundation. The nature of the spot--so eminently fitted for love
+and lovers’ trysts--may have suggested the story. But the garden is
+ill-kept, and many of the magnificent trees have been cut down.
+
+       *       *       *       *       *
+
+In the city of Granada itself the memorials of the Moorish domination
+are scanty and fast disappearing. In the Zacatin, which was in old
+times the chief bazaar, is a building formerly styled the Casa del Gallo
+de Viento (Weathercock House), and now known by the commonplace
+designation of Casa del Carbon (Charcoal House), owing to its having
+been appropriated to the storage of that useful product. Tradition avers
+that the palace (for such the house at one time was) was built by Badis
+Ibn Habus, a governor of Granada, who ruled about 1070 A.D., by whose
+direction a vane was made in the shape of a warrior, mounted and armed
+with shield and spear. In later years the building served as a corn
+exchange. The only notable features are the entrance with its horseshoe
+arch and twin-windows, and vestibule with dome and alcoves. Adjacent to
+the Casa del Carbon is the house of the Duque de Abrantes. Beneath it is
+said to be a subterranean passage communicating with the
+Alhambra--blocked up, oddly enough, by the present owner of the site,
+without any exploration or examination.
+
+Entered from the Carrera de Darro is the once handsome Moorish bath
+house, now in the last stages of dilapidation and neglect. It is
+believed to date from the earliest period of Mohammedan rule. The arches
+are of the old horseshoe type, and the columns and capitals of a
+primitive order. An inscription beginning, “In the Name of God, the
+Merciful, the Compassionate ...” may still be made out.
+
+The bath itself, the various chambers of repose and disrobing, the usual
+alhamies, can also be traced.
+
+The old Moorish mint was demolished in 1643, and the famous Gate of
+Bivarrambla can no longer be described in any sense as a Mohammedan
+work.
+
+The effacement of the Moorish character of Granada, as compared with its
+survival in Seville, serves to show how much more intense the religious
+and racial bias became in Spain during the two hundred and odd years
+that elapsed between the conquests of the two cities. The spirit in
+which St. Ferdinand, Alfonso el Sabio, and Pedro I. approached the works
+of their Mohammedan foes and subjects presented a very favourable
+contrast to that manifested by the Catholic sovereigns, Charles V. and
+Philip II.
+
+
+
+
+CATHOLIC GRANADA
+
+
+Almost the first act performed by a Spanish king on his entry into a
+conquered Mohammedan city was to convert the chief mosque (aljama) into
+a Christian church. This was also done at Granada, but the chapel of the
+Alhambra remained for some time the cathedral of the new See. The mosque
+in the city, afterwards elevated to that rank, is described by the Abbé
+Bertaut of Rouen (quoted by Valladar), writing in 1669, as “square, or
+rather longer than wide, without vaults, and the roof covered with
+tiles, which for the most part were not even joined. The whole was
+supported by a number of small stone columns, harmoniously arranged.”
+Jorquera says the mosque was composed of five low naves. Whether or not
+it was originally a Visigothic church, as some writers pretend, the
+temple probably dated from the earliest centuries of the Muslim
+occupation, and the tower which contained the mihrab was long famous as
+the Torre Turpiana.
+
+The building, after serving the purposes of the Catholic rite for two
+centuries, disappeared between 1705 and 1759 to make room for the
+present sacristia (sacristy). As a cathedral, it had been superseded by
+the adjoining and existing edifice, dedicated on August 17, 1561.
+
+Older by about a quarter of a century than the foundations of the
+cathedral is the Royal Chapel (Capilla Real), which is the most striking
+and interesting memorial of the Conquest of Granada. It was begun in
+1505 as a mausoleum for the Catholic sovereigns, Ferdinand and Isabella,
+under the direction of the famous Enrique Egas, and completed in the
+year 1517--a year after the king’s death and thirteen years after the
+queen’s. The chapel is shaped like a Latin cross, and is one of the
+latest specimens of the Spanish Gothic style. It is a comparatively
+modest and simple building, contrasting strongly with the ornate and
+elaborate structures of the succeeding age. The decoration of the
+interior consists almost entirely in a frieze bearing a long inscription
+in gilt letters which reads: “This chapel was ordered to be built by the
+most Catholic Don Ferdinand and Doña Isabella,” &c. &c. There is a
+suggestion of Gothic influence in the magnificent railing or grille,
+partly of iron, partly gilt, which divides the nave from the transept,
+and was made in 1522 by Maestre Bartolome. The kneeling figures of the
+Catholic sovereigns are seen on either side of the high altar. These,
+says Ford, “are very remarkable, being exact representations of their
+faces, forms, and costumes: behind Ferdinand is the victorious banner of
+Castile, while the absorbing policy for which both lived and died--the
+conquest of the Moor and the conversion of the infidel--are embodied
+beneath them in singular painted carvings; these have been attributed to
+Felipe Vigarny, and are certainly of the highest antiquarian interest.
+In that which illustrates the surrender of the Alhambra, Isabel is
+represented riding on a white palfrey between Ferdinand and the great
+Cardinal Mendoza, who sits on his trapped mule, like Wolsey. He alone
+wears gloves; his pinched aquiline face contrasts with the chubbiness of
+the king and queen. He opens his hand to receive the key, which the
+dismounted Boabdil presents, holding it by the wards. Behind are ladies,
+knights, and halberdiers, while captives come out of the gates in pairs.
+Few things of the kind in Spain are more interesting. The other
+basso-relievo records the ‘Conversion of the Infidel’; in it the
+reluctant flock is represented as undergoing the ceremony of wholesale
+baptism, the principal actors being shorn monks. The mufflers and
+leg-wrappers of the women--the Roman _fasciæ_--are precisely those still
+worn at Tetuan by their descendants.”
+
+These reliefs are unquestionably more vigorous and artistic, and also
+more in harmony with the structure generally, than the gorgeous
+Renaissance cenotaphs of Ferdinand and Isabella--most probably the work
+of the Spanish sculptor, Bartolome Ordoñez. The two great sovereigns are
+shown lying side by side, the faces expressing infinite dignity and
+repose. At each corner of the sepulchre is seated one of the four
+Doctors of the Church, below whom is a Sphinx. Medallions on two of the
+four sides represent respectively the Baptism and Resurrection of Jesus,
+and St. George and St. James. Beautifully done are the figures of the
+Twelve Apostles, the escutcheons, and, in fact, all the details of this
+grandiose but unimpressive monument.
+
+The adjacent sepulchre of Ferdinand and Isabella’s daughter, the unhappy
+Queen Juana, and of her husband, Philip I., the Handsome, is inferior in
+design and execution. The heads of the recumbent figures are not
+faithful portraits. The reliefs represent the Nativity, the Adoration of
+the Magi, the Agony in the Garden, and the Entombment. In the niches are
+figures of the Cardinal Virtues (not conspicuous in Philip during life),
+and at the corners the statues of Saints Michael, George, Andrew, and
+John the Divine. Very beautiful are the figures of children, and much of
+the heraldic decoration. The whole is in the most florid style of the
+Renaissance, and was carved at Genoa by order of Juana’s son, Charles
+V.
+
+Very different are the actual resting-places of the sovereigns so
+gorgeously commemorated in stone above. Descending to a narrow vault
+beneath the cenotaphs, we find five rude coffins, with iron bands.
+Herein repose the remains of Ferdinand and Isabella, of Juana and
+Philip, and of their son, Prince Juan. Ferdinand’s coffin may be
+identified by the letter F. “Here,” writes Pi Margall, “lie together in
+the dim light fathers and sons, monarchs of three dynasties united in
+less than a century for the greater glory of the fatherland; here lie
+the last princes of the Mediæval Age, and those who at its close
+inaugurated the Modern Era. Here they lie--heroes and fathers of
+heroes--kings who never retreated before the face of danger, and queens
+whose lives were consumed in the fire of profound love; fortunate ones
+who, returning from the battle, found rest and refreshment in the arms
+of their beloved; and unhappy souls who drained the cup of suffering,
+without finding in the dregs even that lethargy which the excess of
+grief procures for some. Who can enter this murky precinct without
+feeling his heart swayed by contrary emotions--without inclining with
+reverence before the lead which covers the men who rescued the nations
+from the anarchy of feudalism? While a tear may drop on the bier of that
+great princess [Isabella], who can restrain his pity for that unhappy
+queen [Juana] who, intoxicated with love, passed the night waiting for
+the dawn to break that she might go forth, alone, to the ends of the
+world, in search of her adored husband, and would not leave his coffin
+till the tomb had closed upon it?”
+
+We leave these great and unhappy ones of a bygone age, passing away to
+nothingness in their last dark palace, and ascend to the chapel. There
+is not much more to see. In the sacristy are preserved the crown and
+sceptre of the Catholic queen, the sword of Ferdinand, and some rich
+Gothic vestments. Over an altar on the south side is a _Descent from the
+Cross_, of which Ford speaks highly. The Chapel Royal communicates with
+the cathedral by a noble portal in the Late Gothic style. The pillars on
+each side are adorned by the statues of kings-at-arms. Above the
+entrance an eagle upholds the Arms of Spain. Heraldic devices, religious
+emblems, and reliefs of saints and cherubim are mingled in the
+decoration, which is beautiful and not over-elaborate.
+
+The Chapel Royal, though architecturally forming part of the cathedral
+building, has an entirely independent ecclesiastical organisation of its
+own, with its own chapter and clergy. Amusing instances are recorded of
+the bad blood existing between the cathedral canons and the royal
+chaplains. This enmity (says Valladar) was carried so far that once,
+when the Archbishop Carrillo de Alderete wished to visit the chapel,
+attended by his canons, the chaplains refused to admit them. The
+archbishop accordingly caused the disobliging priests to be arrested,
+whereupon a long lawsuit ensued. The chaplains had the right of passage
+across the cathedral transept to the Puerta del Perdon, which is the
+official or state entrance to the royal mausoleum--a privilege which
+seems to have galled the canons to the quick. Strange that such
+ludicrous bickerings should have arisen out of a foundation which
+commemorates the grandest and most epoch-making events in the national
+history. Truly from the sublime to the ridiculous there is but one step.
+
+
+THE CATHEDRAL
+
+The Cathedral of Granada was built adjoining and connecting with the
+Chapel Royal and sacristy or old mosque, between the years 1523 and
+1561. Charles V. preferred the Gothic style, but at last consented to
+the adoption of the designs of Diego de Siloe. The church is described
+by Ford as one of the finest examples of the Græco-Roman style, but the
+plan is distinctly Gothic, nor can the edifice be said to deserve the
+description, “the most magnificent temple in Europe after the Vatican.”
+It is impressive in its severity and vastness, and may be described as
+dignified rather than beautiful.
+
+The façade, said to have been designed by Alonso Cano, is flanked by
+towers (one unfinished) and divided by four huge stone columns which
+support a cornice. On this rest four pillars, sustaining three deep,
+gloomy vaultings. At the foot of these pillars, on the cornice, are
+statues of the Apostles. The principal door is adorned with a high
+relief of the Incarnation by Risueño, the side-doors with reliefs of the
+Annunciation and Assumption. The tower on the left rises seventy-five
+metres above the level of the present floor; its three stages are in the
+three styles of Grecian architecture respectively.
+
+The walls of the Cathedral are, to a great extent, hidden, as is so
+often the case on the Continent, by adjoining buildings. The Puerta del
+Perdon, which, as we have said, officially belongs to the Chapel Royal,
+is Diego de Siloe’s masterpiece, and is elaborately sculptured. Over the
+arch two allegorical figures uphold a tablet on which is inscribed a
+dedication to the Catholic monarchs. The great flanking columns of the
+portal are decorated with huge escutcheons. The introduction of heraldic
+symbols into religious architecture is nowhere more conspicuous than at
+Granada.
+
+The interior of the church, which is paved with black and white marble,
+is composed of five naves with a cross-vaulting in the Gothic style,
+supported by five piers, each of which is composed of four Corinthian
+pillars. Above the high altar at the east end of the structure rises a
+noble dome, 220 ft. high, resting on eight pillars, and opening with a
+bold main arch, 190 ft. high. The expansion of the Capilla Mayor
+(principal chapel) at this point into the segment of a circle is a
+clever feat of architecture. Lafuente says, “The daring of the main arch
+is admirable, the way it is contrived creating a wonderful effect:
+looking at it from the elliptical arches it appears to be extended and
+on the point of falling away through having sunk below its level.”
+
+The Capilla Mayor is a handsome, profusely ornamented fabric, supported
+on twenty-two Corinthian columns in two courses. Between the lower
+columns are the elliptical arches referred to, and on the upper course
+are the seven beautiful paintings of scenes from the Blessed Virgin’s
+life, by Alonso Cano. Between the courses are interesting paintings by
+Juan de Sevilla and Bocanegra. Much of the statuary is good, and the
+Flemish stained glass in the fourteen windows is beautifully rich in
+colour and well executed. The high altar itself, the work of José de
+Bada, is in a depraved style; but its badness is redeemed by the two
+kneeling statues of Ferdinand and Isabella on either side by Mena and
+Madrano, and by the bold, great heads of Adam and Eve, above the
+pulpits, carved and painted by Alonso Cano.
+
+In the centre of the middle nave, separated from the Capilla Mayor by
+the transept, is the choir, in that debased Churrigueresque style of
+which every one speaks ill. The only things notable within it are the
+fine organs, and the crucifix by Pablo de Rojas. Beneath the choir is
+entombed Alonso Cano (died 1667), one of the greatest of Andalusian
+painters, and a minor canon of the Cathedral.
+
+One of his most characteristic pictures--the _Virgén de la Soledad_--is
+to be seen over the altar of the Capilla de San Miguel (the first chapel
+on the right on entering the church). It was stolen in 1873, and
+recovered in the city shortly after. The chapel is beautifully adorned
+with red marbles and serpentine. It was built by that high-minded,
+beneficent prelate, Archbishop Moscoso, in 1804. His tomb is by the
+sculptor Folch. In the chapel are placed--we do not know why--two
+elegant Chinese vases.
+
+Between this and the next chapel is the entrance to the sacristy or old
+mosque, and to the left of it a small picture, before which that really
+saintly saint, St. John of God, was accustomed to pray. The Capilla de
+la Trinidad has some good paintings, among them a _Trinity_ by Cano, two
+miniatures on copper by the same artist, a _Death of St. Joseph_ by
+Maratta, and copies of works by Raphael and Ribera. There are genuine
+Riberas (_The Child Jesus_, _St. Laurence_, and _St. Mary Magdalene_)
+and more works by Cano in the extravagant eighteenth-century chapel of
+Jesus Nazareno. After this comes the handsome Gothic door of the Chapel
+Royal, by Enrique Egas; and beyond that the Chapel of Santiago, with a
+fine equestrian statue of the Patron Saint of Spain, presented to the
+Cathedral by the City in 1640. The old painting of the Virgen del Perdon
+was given to Isabella the Catholic by Innocent VIII., and used to be
+carried about by the queen. It is publicly venerated (not worshipped or
+adored, please note) on the anniversary of the Reconquest, January 2.
+
+Passing the Cathedral sacristy with its handsome door by Siloe, we pause
+before the Puerta del Colegio. Behind the sculptured Ecce Homo, it is
+said Maeda carved a Lucifer of extraordinary beauty. He applied to Siloe
+for permission to give a proof of his skill, and was told by the testy
+architect to sculpture the Devil himself if he wanted to. Maeda was wag
+enough to take him at his word.
+
+The chapel of Santa Ana covers the vault intended for the archbishops,
+and contains a good sixteenth-century altar-piece, and a St. Jean de
+Matha (a Frenchman, not a Spaniard) by Bocanegra. The six chapels that
+follow present no features of interest. The fourth chapel on the left
+side of the Cathedral is named La Virgen de la Antigua, after a Gothic
+image greatly venerated by Ferdinand the Catholic, and regarded with
+great reverence by the devout of Granada. Here are two portraits by Juan
+de Sevilla of Ferdinand and Isabella at prayer; the king is clad in
+armour. The paintings are in the Venetian style. Of the retablo by
+Cornejo, the less said the better. Cano’s realistic heads of Saints John
+and Paul reflect the fondness of the pietists of his day for the
+morbid--they are in the Chapel of the Virgen del Carmen. The first
+chapel, or baptistry, was erected by Adam and Aguado, at the expense of
+Archbishop Galvan, who is buried here near another occupant of the
+episcopal throne, Don Bienvenido Monzón. The fine reliefs of Saints
+Jerome and Isidore are by Mora. We have now reached the entrance doors,
+on each side of which hangs a good painting. The three pictures over the
+doors represent mystic allegories.
+
+The most interesting feature of the chapter room, or Sala Capitular, is
+the noble porch, with its figures of Justice and Prudence, which, with
+the group of the Trinity, may be safely attributed to Maeda.
+
+Before leaving the Cathedral, the sacristy should be visited. It
+contains Cano’s _Assumption_ and two small statues by him; a _Crucifix_
+by Montañez; a _Holy Family_, by Juan de Sevilla; and a _Mary
+Immaculate_ by Bocanegra. The treasury contains some wonderfully
+embroidered vestments, and good, but not extraordinary, examples of the
+silversmith’s craft. The signet ring of Sixtus III., and the monstrance
+presented by Isabella, have of course, an historical interest.
+
+A casket is also shown to visitors, who are assured it is that in which
+were placed the jewels pawned by Isabella to provide funds for
+Columbus’s first voyage. If this is true, Pandora’s box was as nothing
+compared to this one! The Queen’s Missal, the work of Francisco Flores,
+is beautifully illuminated. It is placed on the high altar on the
+anniversary of the Reconquest. Those interested in arms will handle with
+curiosity the sword of Ferdinand the Catholic; the hilt has a spherical
+pommel and drooping quillons with branches towards the blade, which is
+grooved for about two-thirds of its length. Other relics of the Catholic
+sovereigns are their sceptre, Isabella’s crown, the royal standards used
+at the Reconquest, and a chasuble said to have been embroidered by the
+Queen.
+
+By the door next to the Capilla de San Miguel we pass into the Sagrario
+(sacristy) occupying the site of the old mosque, which it replaced in
+1705. It was designed by Don Francisco Hurtado and Jose de Bada, and it
+is well that the responsibility for so meretricious a piece of
+architecture should be divided. It may be dismissed as Churrigueresque.
+It is not, fortunately, devoid of interest. In one of the chapels is
+buried “the magnificent cavalier, Fernando del Pulgar, Lord of El
+Salar,” as the inscription records. This valiant knight and true, during
+the last campaign against Granada, rode into the city with fifteen
+horsemen, and set a lighted taper on the floor of the mosque, and, as
+others say, nailed a paper bearing the Ave Maria on the door. This
+exploit earned for him and his descendants the extremely valuable
+privilege of wearing their hats in the Cathedral. De Pulgar’s bones have
+fared better than those of the good Archbishop de Talavera, which were
+scattered when the old mosque was demolished. The Sagrario possesses
+several good paintings, including a San José by Cano, of whose works the
+Cathedral buildings, as may have been noticed, contain a fine selection.
+By the door next to the Capilla de Pulgar, and a darkish passage, the
+Chapel Royal may be entered.
+
+The oldest purely Christian building in Granada is the convent and
+chapel of San Jeronimo, a foundation transferred here from Santa Fé
+immediately after the Reconquest. The convent is now a cavalry barracks,
+and is not to be inspected by the curious. The church, built by Diego de
+Siloe, is in the form of a Latin cross--stern, plain, dignified. The
+walls are adorned with frescoes representing scenes from the Passion,
+portraits of the Fathers of the Church, and angels playing on the harp
+and singing. They were executed in 1723 by an obscure painter called
+Juan de Medina. Eight chapels open on the aisles and nave, one
+containing a fine retablo, with the Entombment as subject. The principal
+chapel exhibits Siloe’s skill at its best. He is said to have realised
+in its construction “his lofty ideal of effecting a truly Spanish
+Renaissance; an ideal which bore little fruit, since some of his
+followers confined themselves to the strictest classicism, others to the
+development of the plateresque.” Very much in the spirit of the
+Renaissance is the decoration of the chapel with the statues of the
+worthies of the classic world, Cæsar, Pompey, Hannibal, Homer, and
+others, side by side with Old Testament characters. Strange, this
+admiration for a pagan civilisation co-existent with violent religious
+fanaticism against all contemporary non-Catholics!
+
+The whole church was practically dedicated to the memory of Spain’s
+greatest soldier, the Great Captain, Gonzalo de Cordova, who was buried
+here, but whose ashes have been transferred to Madrid. The hero and his
+duchess are shown, sculptured, kneeling in prayer on either side of the
+high altar, over which rises a magnificent retablo, divided into several
+compartments filled with reliefs and statues. The horizontal sections
+are in the Doric, Ionic, Corinthian, and composite Orders respectively.
+The lowest central compartment is occupied by the Tabernacle, the
+subjects of the three compartments immediately above being the
+Immaculate Conception, St. Jerome, and the Crucifixion. Over all is
+shown the figure of the Eternal Father. This splendid work, the best of
+its kind in Spain, seems to have been executed by a variety of artists,
+among them Juan de Aragon, Pedro de Orea, and Pedro de Raxis. The
+beautiful shell-like vaulting above is adorned with figures of the
+Apostles, of Saints Barbara, Katharine, Magdalen, and Lucy, and the
+warrior-saints, George, Eustace, Martin, Sebastian, and Francis. The
+sword given by the Pope to the Great Captain, formerly one of the
+treasures of the chapel, was carried off by Sebastiani during the
+Peninsular War.
+
+There are a great many beautiful things in this old church which seem to
+escape the ordinary traveller’s notice. The seats in the choir were
+designed by Siloe. The frescoes, representing the Triumph of the
+Church, of the Virgin, and of the Eucharist, the Assumption, &c., are
+very well done. The restoration of the fabric has often been denounced,
+but it is difficult to see how it could have been better carried out.
+
+In the neighbourhood of the Great Captain’s chapel is a monument to a
+hero and a great Spaniard of a very different type. Juan de Robles
+devoted himself to the sick and the suffering with a zeal which earned
+for him confinement in a madman’s cage. His virtues were recognised
+after his death, and procured him canonisation as St. John of God in
+1669. A tribute to his memory which he would have no doubt appreciated
+better is the large hospital founded two years after his death, that is,
+in 1552. The saint’s ashes, in a silver coffin, repose in the hospital
+chapel, a gorgeous structure, characterised by costliness and bad taste.
+The trail of the serpent of Spanish architecture--Churriguera--is over
+all. All that is interesting in it is the portrait of the saint, a copy
+of one in Madrid.
+
+The name of the Great Captain is associated with the Cartuja, or
+suppressed Carthusian monastery, the site of which was his gift. The
+monastery, begun in 1516, was pulled down in 1842. A small portion of
+the buildings, however, remains, together with the church. The single
+nave is disfigured by over-elaborate ornamentation in the plateresque
+style. The doors of the choir are richly and tastefully inlaid with
+ebony and mother of pearl, cedar and tortoise-shell, and were the work
+of a friar, Manuel Vazquez, who died in 1765. The sanctuary, in the
+baroque style, is enriched with precious marbles, some richly veined
+with agates. On some of the slabs the hand of Nature has traced the
+semblances of human and animal forms. In the adjoining sacristy, various
+marbles have been combined so as to produce an effect dazzling and
+gorgeous in the extreme. The hall is certainly one of the most
+remarkable in Spain. Scarcely less marvellous are the exquisitely inlaid
+doors and presses. The generally bad style of the church is also
+redeemed by a statue of St. Bruno, the founder of the Carthusian Order,
+ascribed to Alonso Cano, and some pictures by Bocanegra, Giaquinto, and
+Cotán. The last named, a friar, was responsible for the pictures in the
+cloister, representing the martyrdom of Carthusian monks in London by
+the tyrant Henry VIII. and the brigands who acted as his officers.
+
+The Cartuja was formerly much richer in works of art, but, like San
+Jeronimo, it was ransacked by the French under Sebastiani, who
+exhibited, as on all occasions, the discrimination of a dilettante
+coupled with the rapacity of a bandit.
+
+In front of the church of Santos Pedro y Pablo is a very handsome
+mansion built in 1539 for Hernando de Zafra, secretary of the Catholic
+sovereigns. The portal is in three stages: the first contains the
+entrance, a square doorway, between Doric columns; the second bears the
+escutcheons of the family, above them being sculptured griffins and
+lions; the third, a balcony between pilasters, carved in delicate
+relief. In a line with this is another balcony, bearing the curious
+inscription, _Esperandola del Cielo_--“Looking for it from Heaven.”
+These words are explained by a tragic legend. De Zafra is said to have
+suspected his daughter of a clandestine attachment. To satisfy his
+doubts, he burst into her room one day, and found her page assisting the
+lover to escape by the window. Baulked of his prey, the father turned,
+with death in his face, upon the boy. “Mercy!” shrieked the page. “Look
+for it in Heaven!” answered the Don, as he hurled his daughter’s
+accomplice from the balcony into the street below. So runs the legend.
+De Zafra does not appear, according to the records, to have left any
+children; but his daughter may not have survived the terrible
+consequences of her amour. “After all,” remarks Valladar, “nothing was
+easier in the sixteenth century than to throw a page out of the window
+without attracting the attention of the police or magistrates.”
+
+Granada is by no means as rich in ancient churches and houses as
+Seville. The house of the Great Captain now forms part of the convent of
+Carmelite nuns. On the façade a tablet sets forth that “In this house
+lived, and on December 2, 1515, died, the Great Captain Don Gonzalo
+Fernandez de Aguilar y de Cordoba, Duke of Sessa, Terranova, and
+Santangelo, the Christian hero, and conqueror of the Moors, French, and
+Turks.”
+
+The early sixteenth-century Casa de los Tiros--the property, like the
+Generalife, of the Marques de Campotejar--seems to occupy the site, if
+it did not actually form part, of a Moorish fortified dwelling. Some
+think it was an advanced work of the fortifications known as the Torres
+Bermejas. The interior certainly shows Arabic influence. The staircase
+was probably built by Moors, and there are rich azulejos and a splendid
+_artesanado_ hall. This is adorned with busts of various Spanish
+celebrities, with the graven heads of Moors and Christians, and with
+reliefs of Lucretia, Judith, Semiramis, and Penthesilea.
+
+In this house is preserved an Arabic sword with a magnificent hilt and
+scabbard, said to have belonged to Boabdil. The scabbard, at all events,
+is unquestionably of workmanship posterior to the Reconquest; and it is
+well to be a little on one’s guard in the matter of the numerous relics
+ascribed to the last Moorish king.
+
+Of old Granada, in truth, not much more remains than the buildings we
+have already named. We may glance at the tower of San Juan de los Reyes,
+so badly restored that its peculiar Moorish architecture, more markedly
+Eastern than that of any other Grenadine monument, has been almost
+entirely effaced. And in the old Casa de Ayuntamiento there are some
+historical curiosities, notably the original draft of the charter
+granted to Granada by the Catholic sovereigns, and the handsome official
+shield of the city. Many sites, such as the Plaza de Bibarrambla,
+commemorated in the songs and stories of old Spain, have been completely
+modernised. But there is a monument--a simple column surmounted by an
+iron cross--more deeply interesting than any reared by the Moors. The
+inscription on the pedestal records that on this spot, on May 26, 1831,
+Doña Mariana Pineda was publicly garroted at the age of thirty-two
+years. She died a martyr for liberty and a victim of the strange
+absolutist frenzy which did much to ruin Spain in Ferdinand VII.’s
+reign. Doña Mariana’s house had been a centre for liberal gatherings,
+and when raided by the police was found to contain a tricolour flag.
+She met her death with a courage worthy of her cause. Five years later,
+when the nation had recovered its sanity, her ashes were carried in
+state to the Ayuntamiento. The magistrate who had condemned her was in
+his turn executed. On the same site many Spanish patriots were shot by
+the French--their labour and their lives being given to replace
+Ferdinand VII. on the throne. The square, formerly called the Campillo,
+is now named after Mariana Pineda. You may see there her statue in
+marble, sculptured by Marna and Morales.
+
+The hill called the Sacro Monte is a curious memorial of human
+credulity. In 1594 one Francisco Hernandez reported to the Archbishop
+Don Pedro Vaca de Castro that he had discovered the relics of several
+local martyrs in the caves here. A church of no architectural merit was
+raised on the spot, and became a place of pilgrimage--the evidence that
+the martyrs referred to had ever existed being meanwhile wanting. Within
+the church are preserved some leaden books, inscribed in Arabic
+characters, and supposed to contain the acts, of the saints. These works
+were the subject of a furious controversy in the seventeenth century.
+The caves are interesting on account of their natural peculiarities, and
+were quite probably catacombs used by the early Christians of
+Illiberis. Some rocks may be noticed, in parts worn away by the repeated
+kisses of devotees. There is a superstition that the person who kisses
+the stone the first time will marry within the year, and that a second
+kiss will ensure to those already married an early dissolution of the
+conjugal tie.
+
+On the opposite side of the city, also in the outskirts, is a little
+Mohammedan oratory, now disfigured and restored beyond recognition. It
+is called the Ermita de San Sebastian, and was the place where Boabdil
+gave up the keys of Granada to Ferdinand and Isabel.
+
+When we walk through the streets of the modern Granada, with its tawdry
+churches and commonplace private houses, it does not seem that the city
+has gained much by its change of masters. But its decline was not at
+least very marked till many years after the Reconquest. The French
+invasion, and still more the ruin of the silk industry, completely
+undermined the prosperity of the place. During the last century it lost
+its rank as the seat of a Captain General. But a new day is dawning for
+the proudest city of the Moor, as for all Spain. Granada is content no
+longer to brood over its splendid past; indeed, its citizens seem to
+prize but lightly the monuments of those days. There is a general
+appearance of wealth and elegance about the promenaders on the broad,
+well-lighted paseos; and, thanks to the newly introduced manufacturing
+industry of beetroot sugar, the Vega has already resumed the flourishing
+smiling aspect it wore when a Mohammedan amir called it his and the cry
+of the muezzin was heard from a hundred minarets.
+
+
+
+
+PLAN OF GRANADA
+
+REFERENCE TO PLAN OF GRANADA
+
+BUILDINGS AND PLACES
+
+1. Hospital of San Lázaro.
+
+2.  Church of San Juan de Letran.
+
+3.  Hermitage of Santo Cristo de Yedra.
+
+4.  San Bruno and the Cartuja.
+
+5.  The Sacro Monte.
+
+6.  The Holy Tomb.
+
+7.  Cavalry Barracks, and San Jerónimo.
+
+8.  San Juan de Dios.
+
+9.  San Juan de Dios (Street).
+
+10.  Lunatic Asylum.
+
+11.  Bull Ring. (Plaza de Toros.)
+
+12.  San Ildefonso, and Avenue del Triunfo.
+
+13.  Pay Office.
+
+14.  Gate of Elvira.
+
+15.  Gate of Monaita.
+
+16.  San Andrés.
+
+17.  Children’s Hospital.
+
+18.  Office for Civil Affairs.
+
+19.  Santos Justo and Pastor.
+
+20.  Institute of Music.
+
+21.  Botanical Garden and Nunnery of Piety.
+
+22.  Square of Rull and Godines.
+
+23.  Convent of the Incarnation.
+
+24.  Santa Paula.
+
+25.  Elvira (Street).
+
+26.  San Jerónimo.
+
+27.  Orlando’s Balcony.
+
+28.  San Diego.
+
+29.  San Gregorio.
+
+30.  San Luis.
+
+31.  Arab Ramparts.
+
+32.  San Miguel the Greater.
+
+33.  Gate of the Standards.
+
+34.  El Salvador.
+
+35.  San José.
+
+36.  Convent of the Angel.
+
+37.  Ecclesiastical College.
+
+38.  The Cathedral.
+
+39.   High School and Palace of the Province of Granada.
+
+40.  School of Economics.
+
+41.  Market Place, and Palace of the Archbishop.
+
+42.  Court of First Instance (Plaza Rib-Rambla).
+
+43.  Convent of Augustines and La Magdalena.
+
+44.  House of Grace.
+
+45.  Puentezuelas (Bridge).
+
+46.  Square of Marshal Prim.
+
+47.  Town Hall.
+
+48.  Santa Teresa.
+
+49.  Convent of the Holy Spirit.
+
+50.  Military Office.
+
+51.  Carmelite Convent.
+
+52.  Hospital for Leprosy.
+
+53.  Santa Ana.
+
+54.  Santa Inés.
+
+55.  Convent of the Conception.
+
+56. San Juan de los Reyes.
+
+57. Ex-Convent of The Victory.
+
+58. Watch-tower of the Alhambra (Torre de la Vela).
+
+59. The Alhambra.
+
+60. Gate of Las Granadas.
+
+61. Gate of Judiciary Astrology (Judiciária).
+
+62. The Generalife.
+
+63. Gate of Hierro.
+
+64. San Francisco (formerly Convent of St. Francis).
+
+65. The Chair of the Moor (Silla del Moro).
+
+66. The  Tower of the Seven Storeys (Alhambra).
+
+67. The Fountain of Expiation.
+
+68. Gate of the Sun.
+
+69. Convent of Santa Catalina.
+
+70. Ecce Homo.
+
+71. San Cecilio, and Military Hospital.
+
+73. Santa Escolástica.
+
+74. Capuchin Convent and Santa Maria Egipciaca.
+
+75. San Anton.
+
+76. Gas Works.
+
+77. Public Shambles.
+
+78. San Sebastián and Avenue del Violón.
+
+79. Las Angustias.
+
+80. El Salon.
+
+81. Convent of Santiago.
+
+82. Museum of the Academy of Fine Arts.
+
+83. Monument of Mariana.
+
+84. Artillery Barracks.
+
+85. Principal Theatre (Plaza de Bailén).
+
+86. New Square.
+
+87. Zacatín.
+
+88. Fish Market.
+
+89. Church of Santiago.
+
+90. San Nicolás.
+
+91. Convent of Tomasas.
+
+92. Bermeja Towers.
+
+93. Palace of Charles V.
+
+94. Gate of the Mills.
+
+95. San Basil.
+
+96. Recreation Grounds.
+
+97. Cemetery.
+
+98. Convent of San Bernado and Church of San Pedro.
+
+99. San Bartolomé.
+
+100. Avenue of San Basil.
+
+101. San Cristóbal.
+
+102. Hospital of Corpus Christi.
+
+103. Santa Isabel la Real, and San Miguel the Less.
+
+104. Santa Maria (Ancient Mosque of the Alhambra).
+
+105. San Matías.
+
+106. Gate of Fajalanza.
+
+107. Méndez Nuñez (Street).
+
+[Illustration: GRANADA]
+
+[Illustration: PLATE 1
+
+VIEW OF GRANADA, SHOWING THE ALHAMBRA AND THE SIERRA NEVADA]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF THE ALHAMBRA]
+
+[Illustration: PLATE 3
+
+VIEW OF THE ALHAMBRA FROM THE SACROMONTE ROAD]
+
+[Illustration: PLATE 4
+
+THE ALHAMBRA FROM THE MOOR’S SEAT--LA SILLA DEL MORO]
+
+[Illustration: PLATE 5
+
+GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS]
+
+[Illustration: PLATE 6
+
+VIEW OF THE GATE OF ELVIRA]
+
+[Illustration: PLATE 7
+
+A VIEW OF THE ALHAMBRA FROM THE ALBAICIN (_Sketch_)]
+
+[Illustration: PLATE 8
+
+VIEW OF THE CATHEDRAL AND THE ALHAMBRA FROM SAN GERÓNIMO]
+
+[Illustration: PLATE 9
+
+VIEW OF THE SIERRA NEVADA FROM THE CARRERA DE LAS ANGUSTIAS]
+
+[Illustration: PLATE 10
+
+VIEW OF THE ROYAL GATE]
+
+[Illustration: PLATE 11
+
+VIEW FROM THE TOWER IN THE ALHAMBRA]
+
+[Illustration: PLATE 12
+
+LA PLAZA NUEVA]
+
+[Illustration: PLATE 13
+
+MONUMENT TO COLUMBUS IN THE PASEO DEL SALON; THE SIERRA NEVADA IN THE
+DISTANCE]
+
+[Illustration: PLATE 14
+
+THE STREET OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 15
+
+ARAB SILK MARKET]
+
+[Illustration: PLATE 16
+
+LA CASA DE LOS TIROS]
+
+[Illustration: PLATE 17
+
+CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 18
+
+LIMOGES ENAMEL TRIPTYCH WHICH BELONGED TO THE GRAN CAPITÁN (PROVINCIAL
+MUSEUM, GRANADA)]
+
+[Illustration: PLATE 19
+
+ALTAR IN THE CHURCH OF SAN GERÓNIMO]
+
+[Illustration: PLATE 20
+
+HOUSE IN THE CALLE DE DARRO THE PALACIO DE JUSTICIA]
+
+[Illustration: PLATE 21
+
+THE HOUSE OF CASTRIL]
+
+[Illustration: PLATE 22
+
+TYPICAL GYPSIES AND THEIR QUARTERS]
+
+[Illustration: PLATE 23
+
+GYPSIES IN FRONT OF THEIR DWELLINGS]
+
+[Illustration: PLATE 24
+
+GYPSY DWELLINGS IN THE SACROMONTE]
+
+[Illustration: PLATE 25
+
+GENERAL VIEW OF THE GYPSY QUARTERS]
+
+[Illustration: PLATE 26
+
+INTERIOR OF A GYPSY’S CAVE]
+
+[Illustration: PLATE 27
+
+GROUP OF GYPSIES]
+
+[Illustration: PLATE 28
+
+A GYPSY FAMILY]
+
+[Illustration: PLATE 29
+
+GYPSIES BIVOUACKING]
+
+[Illustration: PLATE 30
+
+GYPSIES]
+
+[Illustration: PLATE 31
+
+GYPSIES CLIPPING A MULE]
+
+[Illustration: PLATE 32
+
+GYPSIES]
+
+[Illustration: PLATE 33
+
+GYPSIES]
+
+[Illustration: PLATE 34
+
+GYPSY DANCE]
+
+[Illustration: PLATE 35
+
+INTERIOR OF THE SACRISTY OF THE CARTUJA]
+
+[Illustration: PLATE 36
+
+INTERIOR OF THE CARTUJA. THE SACRISTY]
+
+[Illustration: PLATE 37
+
+INTERIOR OF THE CARTUJA CHURCH]
+
+[Illustration: PLATE 38
+
+SAINT BRUNO, BY ALONSO CANO, AT THE CARTHUSIAN MONASTERY OF GRANADA]
+
+[Illustration: PLATE 39
+
+EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 40
+
+THE GATE OF PARDON AND THE EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 41
+
+FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 42
+
+EXTERIOR GATE OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 43
+
+DETAIL IN THE ROYAL CHAPEL]
+
+[Illustration: PLATE 44
+
+ANCIENT GOTHIC ENTRANCE TO THE ROYAL CHAPEL]
+
+[Illustration: PLATE 45
+
+GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL, UPPER PART]
+
+[Illustration: PLATE 46
+
+GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 47
+
+EXTERIOR OF THE ROYAL CHAPEL
+
+FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 48
+
+GENERAL VIEW OF THE INTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 49
+
+THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR]
+
+[Illustration: PLATE 50
+
+THE CATHEDRAL. VIEW OF THE PRINCIPAL NAVE]
+
+[Illustration: PLATE 51
+
+THE HIGH ALTAR IN THE CATHEDRAL]
+
+[Illustration: PLATE 52
+
+ALTAR-PIECE IN THE ROYAL CHAPEL, BY F. DE BORGOÑA]
+
+[Illustration: PLATE 53
+
+THE CATHEDRAL. BOABDIL GIVING UP THE KEYS OF GRANADA TO THE CATHOLIC
+SOVEREIGNS. FRAGMENT OF THE ALTAR-PIECE IN THE ROYAL CHAPEL]
+
+[Illustration: PLATE 54
+
+THE INNER CHOIR OF THE CATHEDRAL]
+
+[Illustration: PLATE 55
+
+THE CATHEDRAL. TOMBS OF THE CATHOLIC SOVEREIGNS IN THE ROYAL CHAPEL]
+
+[Illustration: PLATE 56
+
+VIEW OF THE ROYAL CHAPEL AND TOMBS OF THE CATHOLIC SOVEREIGNS, BY P.
+GONZALVO]
+
+[Illustration: PLATE 57
+
+ROYAL CHAPEL. TOMBS OF FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 58
+
+VAULT OF THE CATHOLIC SOVEREIGNS AT GRANADA]
+
+[Illustration: PLATE 59
+
+TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME]
+
+[Illustration: PLATE 60
+
+TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME]
+
+[Illustration: PLATE 61
+
+SCEPTRE, CROWN, SWORD, MASS-BOOK, AND COFFER OF THE CATHOLIC
+SOVEREIGNS]
+
+[Illustration: PLATE 62
+
+RELICS OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 63
+
+ROYAL CHAPEL. STATUE OF QUEEN ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 64
+
+STATUE OF ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 65
+
+CHAPEL OF SAN MIGUEL IN THE CATHEDRAL, MARBLE SCULPTURE]
+
+[Illustration: PLATE 66
+
+Plan of the Alhambra Palace at Granada]
+
+[Illustration: PLATE 67
+
+GENERAL PLAN OF THE ALHAMBRA]
+
+[Illustration: PLATE 68
+
+GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS]
+
+[Illustration: PLATE 69
+
+THE RED TOWERS FROM THE RAMPARTS]
+
+[Illustration: PLATE 70
+
+VIEW OF THE ALHAMBRA FROM THE SACROMONTE]
+
+[Illustration: PLATE 71
+
+GENERAL VIEW OF THE ALHAMBRA AND ALGIBILLO PROMENADE]
+
+[Illustration: PLATE 72
+
+VIEW OF THE ALHAMBRA FROM THE CUESTA DEL CHAPIZ]
+
+[Illustration: PLATE 73
+
+THE RED TOWERS]
+
+[Illustration: PLATE 74
+
+GENERAL VIEW OF THE ALHAMBRA]
+
+[Illustration: PLATE 75
+
+THE TOWER OF THE PEAKS]
+
+[Illustration: PLATE 76
+
+THE INFANTAS’ TOWER AND CAPTIVE’S TOWER]
+
+[Illustration: PLATE 77
+
+VIEW OF THE WATCH TOWER AND GRANADA]
+
+[Illustration: PLATE 78
+
+VIEW OF THE RAMPARTS AND THE WATCH TOWER]
+
+[Illustration: PLATE 79
+
+THE AQUEDUCT TOWER AND THE AQUEDUCT]
+
+[Illustration: PLATE 80
+
+THE GATE OF JUSTICE. DETAIL OF A DOOR IN THE COURT OF THE MYRTLES]
+
+[Illustration: PLATE 81
+
+THE ALHAMBRA AND THE SIERRA NEVADA]
+
+[Illustration: PLATE 82
+
+GRANADA, FROM THE HOMAGE TOWER]
+
+[Illustration: PLATE 83
+
+“THE QUEEN’S DRESSING-ROOM,” AT THE SUMMIT OF THE MIHRAB TOWER, WITH
+DISTANT VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 84
+
+THE GATE OF JUSTICE, ERECTED BY YUSUF I]
+
+[Illustration: PLATE 85
+
+THE TOWER OF THE PEAKS]
+
+[Illustration: PLATE 86
+
+THE CAPTIVE’S TOWER]
+
+[Illustration: PLATE 87
+
+EXTERIOR OF THE MOSQUE, PRIVATE PROPERTY]
+
+[Illustration: PLATE 88
+
+TOWER OF THE AQUEDUCT]
+
+[Illustration: PLATE 89
+
+ASCENT TO THE ALHAMBRA BY THE CUESTA DEL REY CHICO--LESSER KING HILL]
+
+[Illustration: PLATE 90
+
+THE LADIES’ TOWER]
+
+[Illustration: PLATE 91
+
+PART OF THE ALHAMBRA, EXTERIOR]
+
+[Illustration: PLATE 92
+
+THE HOMAGE TOWER. ANCIENT ARAB RUINS IN THE ALCAZÁBA]
+
+[Illustration: PLATE 93
+
+GATE OF JUSTICE. THE ALHAMBRA]
+
+[Illustration: PLATE 94
+
+GATE OF JUSTICE (_Sketch_)]
+
+[Illustration: PLATE 95
+
+THE GATE OF JUSTICE]
+
+[Illustration: PLATE 96
+
+PLAN, HEIGHT AND DETAILS OF THE GATE OF THE LAW COMMONLY CALLED OF
+JUSTICE]
+
+[Illustration: PLATE 97
+
+ELEVATION OF THE ANCIENT GATE OF JUSTICE]
+
+[Illustration: PLATE 98
+
+PORTAL COMMONLY CALLED THE GATE OF THE VINE]
+
+[Illustration: PLATE 99
+
+PORCH OF THE GATE OF JUDGMENT]
+
+[Illustration: PLATE 100
+
+ELEVATION OF THE WINE GATE]
+
+[Illustration: PLATE 101
+
+TRANSVERSE SECTION OF PART OF THE ALHAMBRA]
+
+[Illustration: PLATE 102
+
+SECTION SHOWING]
+
+[Illustration: PLATE 103
+
+HEIGHTS OF THE ALHAMBRA]
+
+[Illustration: PLATE 104
+
+PROMENADES AT THE ENTRANCE TO ALHAMBRA]
+
+[Illustration: PLATE 105
+
+THE HALL OF JUSTICE AND COURT OF THE LIONS]
+
+[Illustration: PLATE 106
+
+HALL OF JUSTICE. LEFT SIDE]
+
+[Illustration: PLATE 107
+
+HALL OF JUSTICE, SHOWING FOUNTAIN OF COURT OF THE LIONS]
+
+[Illustration: PLATE 108
+
+SECTION OF THE HALL OF JUSTICE (LOOKING EAST)]
+
+[Illustration: PLATE 109
+
+SECTION OF THE HALL OF JUSTICE (LOOKING TOWARDS THE COURT OF THE
+LIONS)]
+
+[Illustration: PLATE 110
+
+VERTICAL SECTION OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 111
+
+DETAILS OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 112
+
+PLAN AND WINDOW OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 113
+
+PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 1]
+
+[Illustration: PLATE 114
+
+PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 3]
+
+[Illustration: PLATE 115
+
+PART OF PICTURE IN THE HALL OF JUSTICE--THE MOOR’S RETURN FROM HUNTING]
+
+[Illustration: PLATE 116
+
+HALL OF JUSTICE--THE DEATH OF THE LION AT THE HANDS OF A CHRISTIAN
+KNIGHT]
+
+[Illustration: PLATE 117
+
+PART OF PICTURE IN THE HALL OF JUSTICE REPRESENTING A CHRISTIAN KNIGHT
+RESCUING A MAIDEN FROM A WICKED MAGICIAN, OR WILD-MAN-O’-THE-WOODS. THE
+CHRISTIAN KNIGHT IS, IN TURN, SLAIN BY A MOORISH WARRIOR]
+
+[Illustration: PLATE 118
+
+PART OF PICTURE IN HALL OF JUSTICE--MOORISH HUNTSMAN SLAYING THE WILD
+BOAR]
+
+[Illustration: PLATE 119
+
+HALL OF JUSTICE--THREE FIGURES FROM THE PICTURE OF THE MOORISH
+TRIBUNAL]
+
+[Illustration: PLATE 120
+
+THE MOSQUE AND GENERALIFE]
+
+[Illustration: PLATE 121
+
+COURT OF THE MOSQUE]
+
+[Illustration: PLATE 122
+
+FAÇADE OF THE MOSQUE]
+
+[Illustration: PLATE 123
+
+INTERIOR OF THE MOSQUE IN THE ALHAMBRA]
+
+[Illustration: PLATE 124
+
+INTERIOR OF THE MOSQUE]
+
+[Illustration: PLATE 125
+
+ELEVATION OF THE PORTICO ADJACENT TO THE MOSQUE]
+
+[Illustration: PLATE 126
+
+DETAIL OF THE ENTRANCE DOOR OF THE MOSQUE]
+
+[Illustration: PLATE 127
+
+AN ARCHED WINDOW OF THE MOSQUE]
+
+[Illustration: PLATE 128
+
+AN ARCHED WINDOW OF THE MOSQUE]
+
+[Illustration: PLATE 129
+
+THE KORAN RECESS IN THE MOSQUE, THE SCENE OF YUSUF’S ASSASSINATION]
+
+[Illustration: PLATE 130
+
+THE MOSQUE FROM KORAN RECESS]
+
+[Illustration: PLATE 131
+
+DETAILS OF ORNAMENT OF KORAN RECESS NEAR THE ENTRANCE DOOR OF THE
+MOSQUE]
+
+[Illustration: PLATE 132
+
+CORNICE AND WINDOW IN THE FAÇADE OF THE MOSQUE]
+
+[Illustration: PLATE 133
+
+VERTICAL SECTION OF THE MOSQUE]
+
+[Illustration: PLATE 134
+
+ARAB LAMP IN MOSQUE]
+
+[Illustration: PLATE 135
+
+DETAILS OF THE FRONT OF THE MOSQUE OF THE HAREM]
+
+[Illustration: PLATE 136
+
+DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE]
+
+[Illustration: PLATE 137
+
+DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE]
+
+[Illustration: PLATE 138
+
+ORNAMENT IN PANELS, COURT OF THE MOSQUE]
+
+[Illustration: PLATE 139
+
+WINDOW IN THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 140
+
+ENTRANCE TO THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 141
+
+HALL OF AMBASSADORS]
+
+[Illustration: PLATE 142
+
+SECTION AND ELEVATION OF THE INTERIOR OF THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 143
+
+ENCAUSTIC-TILE WORK OF THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 144
+
+ORNAMENT IN PANELS, HALL OF AMBASSADORS]
+
+[Illustration: PLATE 145
+
+INSCRIPTIONS IN THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 146
+
+KUFIC INSCRIPTIONS, HALL OF AMBASSADORS]
+
+[Illustration: PLATE 147
+
+“WA LA GHÁLIB ILA ALÁ!”--THERE IS NO CONQUEROR BUT GOD!--THE FAMOUS
+MOTTO OF MOHAMMED I. AND HIS SUCCESSORS. AN EXAMPLE FROM THE HALL OF
+AMBASSADORS]
+
+[Illustration: PLATE 148
+
+THE COURT OF THE LIONS FROM THE TEMPLETE POMIENTE]
+
+[Illustration: PLATE 149
+
+ENTRANCE TO THE COURT OF THE LIONS THROUGH THE POMIENTE CORNER]
+
+[Illustration: PLATE 150
+
+NORTH GALLERY AND FAÇADE OF THE HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 151
+
+THE COURT OF THE LIONS FROM THE POMIENTE CORNER]
+
+[Illustration: PLATE 152
+
+VIEW IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 153
+
+VIEW IN THE COURT OF THE LIONS FROM THE HALL OF JUSTICE]
+
+[Illustration: PLATE 154
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 155
+
+GENERAL VIEW OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 156
+
+COURT OF THE LIONS]
+
+[Illustration: PLATE 157
+
+NORTH GALLERY IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 158
+
+SECTION, COURT OF THE LIONS]
+
+[Illustration: PLATE 159
+
+PAVILION IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 160
+
+FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 161
+
+HALL OF JUSTICE AND COURT OF THE LIONS]
+
+[Illustration: PLATE 162
+
+ANGLE IN THE HALL OF JUSTICE]
+
+[Illustration: PLATE 163
+
+HALL OF JUSTICE]
+
+[Illustration: PLATE 164
+
+CEILING OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 165
+
+THE MOSQUE, AND VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 166
+
+EXTERIOR OF A WINDOW IN THE MOSQUE]
+
+[Illustration: PLATE 167
+
+THE MOSQUE, AND VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 168
+
+INTERIOR OF THE MOSQUE]
+
+[Illustration: PLATE 169
+
+COURT OF THE MOSQUE, WEST FAÇADE]
+
+[Illustration: PLATE 170
+
+INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH]
+
+[Illustration: PLATE 171
+
+INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH]
+
+[Illustration: PLATE 172
+
+JALOUSIES IN THE COURT OF THE MOSQUE]
+
+[Illustration: PLATE 173
+
+ENTRANCE TO THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 174
+
+BALCONY IN THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 175
+
+DETAIL OF THE HALL OF THE ARCHED WINDOWS]
+
+[Illustration: PLATE 176
+
+DETAIL IN THE HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 177
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 178
+
+GENERAL VIEW OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 179
+
+THE FOUNTAIN AND WEST TEMPLE OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 180
+
+ELEVATION OF THE FOUNTAIN OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 181
+
+THE FOUNTAIN OF THE COURT OF THE LIONS, WITH DETAILS OF THE ORNAMENT]
+
+[Illustration: PLATE 182
+
+PLAN OF THE BASIN OF THE FOUNTAIN IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 183
+
+SECTION OF THE PAVILION IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 184
+
+SECTION OF THE HALL OF THE TWO SISTERS, AND]
+
+[Illustration: PLATE 185
+
+SECTION OF PART OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 186
+
+CAPITAL IN THE COURT OF THE LIONS, WITH A SCALE OF ONE METRE]
+
+[Illustration: PLATE 187
+
+DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 188
+
+FRIEZE OVER COLUMNS, COURT OF THE LIONS]
+
+[Illustration: PLATE 189
+
+DETAIL OF THE CENTRAL ARCH IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 190
+
+THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN
+OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 191
+
+ENTABLATURE IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 192
+
+CUPOLA OF THE PAVILION IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 193
+
+ENTRANCE TO THE COURT OF THE LIONS
+
+LITTLE TEMPLE, THE COURT OF THE LIONS]
+
+[Illustration: PLATE 194
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 195
+
+THE LITTLE TEMPLE
+
+THE FOUNTAIN
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 196
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 197
+
+THE COURT OF THE LIONS, WEST ANGLE]
+
+[Illustration: PLATE 198
+
+MOROCCO EMBASSY, DECEMBER, 1885]
+
+[Illustration: PLATE 199
+
+THE COURT OF THE LIONS FROM THE WEST TEMPLE]
+
+[Illustration: PLATE 200
+
+THE COURT OF THE LIONS FROM THE WEST TEMPLE]
+
+[Illustration: PLATE 201
+
+WEST GALLERY IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 202
+
+THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 203
+
+THE COURT OF THE LIONS, LEFT-HAND ANGLE]
+
+[Illustration: PLATE 204
+
+THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 205
+
+THE COURT OF THE LIONS FROM THE ENTRANCE]
+
+[Illustration: PLATE 206
+
+DETAIL OF THE ENTRANCE TO THE COURT OF THE LIONS]
+
+[Illustration: PLATE 207
+
+DETAIL IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 208
+
+MOSAICS, NORTH SIDE
+
+MOSAICS, SOUTH SIDE
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 209
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 210
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 211
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 212
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 213
+
+WOODEN DOORS, HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 214
+
+GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 215
+
+COURT OF THE MYRTLES; OR, OF THE FISH-POND. FAÇADE OF THE HALL OF
+AMBASSADORS]
+
+[Illustration: PLATE 216
+
+COURT OF THE MYRTLES; OR, OF THE FISH-POND]
+
+[Illustration: PLATE 217
+
+GENERAL VIEW OF THE COURT OF THE MYRTLES; OR, OF THE FISH-POND]
+
+[Illustration: PLATE 218
+
+NORTH SIDE OF THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 219
+
+ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 220
+
+GALLERY IN THE COURT OF THE MYRTLES; OR, OF THE FISH-POND]
+
+[Illustration: PLATE 221
+
+GENERAL VIEW OF THE COURT OF THE MYRTLES AND COMARES TOWER]
+
+[Illustration: PLATE 222
+
+COURT OF THE MYRTLES, EAST FAÇADE]
+
+[Illustration: PLATE 223
+
+DETAIL IN THE COURT OF THE MYRTLES]
+
+[Illustration: PLATE 224
+
+COURT OF THE MYRTLES, EAST FAÇADE]
+
+[Illustration: PLATE 225
+
+EXTERIOR OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE
+MYRTLES]
+
+[Illustration: PLATE 226
+
+THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 227
+
+ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 228
+
+COURT OF THE MYRTLES; OR, OF THE FISH-POND FORMED BY YUSÚF I.]
+
+[Illustration: PLATE 229
+
+THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
+
+GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 230
+
+THE HALL OF THE BATHS]
+
+[Illustration: PLATE 231
+
+THE SULTAN’S BATH]
+
+[Illustration: PLATE 232
+
+THE SULTANA’S BATH]
+
+[Illustration: PLATE 233
+
+THE BATHS, HALL OF REPOSE]
+
+[Illustration: PLATE 234
+
+CHAMBER OF REPOSE]
+
+[Illustration: PLATE 235
+
+SECTION OF THE HALL OF THE BATHS]
+
+[Illustration: PLATE 236
+
+LONGITUDINAL SECTION THROUGH THE BATHS]
+
+[Illustration: PLATE 237
+
+GROUND PLAN OF THE BATHS IN THE ALHAMBRA]
+
+[Illustration: PLATE 238
+
+CEILING OF THE HALL OF THE BATHS]
+
+[Illustration: PLATE 239
+
+PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA]
+
+[Illustration: PLATE 240
+
+A SECTION OF THE BATHS IN THE ALHAMBRA]
+
+[Illustration: PLATE 241
+
+CHAMBER OF REPOSE
+
+SULTAN’S BATH CONSTRUCTED BY YUSÚF I.]
+
+[Illustration: PLATE 242
+
+INTERIOR OF THE INFANTAS’ TOWER]
+
+[Illustration: PLATE 243
+
+SECTIONS OF THE INFANTAS’ TOWER]
+
+[Illustration: PLATE 244
+
+INTERIOR OF THE TOWER OF THE INFANTAS, UPPER PART]
+
+[Illustration: PLATE 245
+
+BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE VEGA, OR
+PLAIN, OF GRANADA]
+
+[Illustration: PLATE 246
+
+ALCOVE OF THE “CAPTIVE” (ISABEL DE SOLIS)]
+
+[Illustration: PLATE 247
+
+INTERIOR OF THE TOWER OF THE “CAPTIVE” (ISABEL DE SOLIS)]
+
+[Illustration: PLATE 248
+
+THE “CAPTIVE’S” TOWER FROM THE ENTRANCE]
+
+[Illustration: PLATE 249
+
+INTERIOR OF THE MOSQUE
+
+ROOM IN THE “CAPTIVE’S” TOWER]
+
+[Illustration: PLATE 250
+
+HALL OF JUSTICE
+
+BATHS, THE CHAMBER OF REPOSE]
+
+[Illustration: PLATE 251
+
+BALCONY OF THE FAVOURITE, “LINDARAJA”]
+
+[Illustration: PLATE 252
+
+ALCOVE IN THE “LINDARAJA” APARTMENTS]
+
+[Illustration: PLATE 253
+
+GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID TO HAVE
+BEEN OCCUPIED BY “LINDARAJA” A FAVOURITE SULTANA]
+
+[Illustration: PLATE 254
+
+DETAIL, INTERIOR OF THE BALCONY OF “LINDARAJA”]
+
+[Illustration: PLATE 255
+
+DETAIL, LOWER PART OF THE BALCONY OF “LINDARAJA”]
+
+[Illustration: PLATE 256
+
+DETAIL OF THE CENTRAL PART OF THE BALCONY OF “LINDARAJA”]
+
+[Illustration: PLATE 257
+
+THE QUEEN’S BOUDOIR AND DISTANT VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 258
+
+THE QUEEN’S BOUDOIR AND VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 259
+
+THE QUEEN’S BOUDOIR AND OLD ALBAICIN QUARTER]
+
+[Illustration: PLATE 260
+
+THE QUEEN’S BOUDOIR AND DEFILE OF THE DARRO]
+
+[Illustration: PLATE 261
+
+LINDARAJA’S GARDEN AND THE APARTMENTS IN WHICH WASHINGTON IRVING
+STAYED]
+
+[Illustration: PLATE 262
+
+ANGLE OF THE BALCONY OF LINDARAJA]
+
+[Illustration: PLATE 263
+
+BALCONY OF THE FAVOURITE LINDARAJA]
+
+[Illustration: PLATE 264
+
+INTERIOR OF THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS]
+
+[Illustration: PLATE 265
+
+EXTERIOR OF THE CAPTIVE’S TOWER]
+
+[Illustration: PLATE 266
+
+THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS]
+
+[Illustration: PLATE 267
+
+INTERIOR OF THE INFANTAS’ TOWER, UPPER PART]
+
+[Illustration: PLATE 268
+
+INTERIOR OF THE INFANTAS’ TOWER]
+
+[Illustration: PLATE 269
+
+DETAIL OF THE UPPER PART OF THE BALCONY OF LINDARAJA]
+
+[Illustration: PLATE 270
+
+HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 271
+
+ENTRANCE TO THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 272
+
+INTERIOR OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 273
+
+HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 274
+
+HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 275
+
+TEMPLE AND FAÇADE OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 276
+
+VIEW IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 277
+
+HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY YÚSUF I.]
+
+[Illustration: PLATE 278
+
+UPPER BALCONY OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 279
+
+HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR]
+
+[Illustration: PLATE 280
+
+CEILING OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 281
+
+DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 282
+
+DETAIL OF THE LATERAL WINDOWS OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 283
+
+DETAIL IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 284
+
+PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 285
+
+INSCRIPTION IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 286
+
+FRIEZE IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 287
+
+PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 288
+
+DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 289
+
+BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 290
+
+MOSAIC IN DADO OF RECESS
+
+MOSAIC IN DADO OF THE ENTRANCE TO THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 291
+
+MOSAIC IN DADO OF HALL OF AMBASSADORS
+
+MOSAIC IN DADO OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 292
+
+WINE GATE. WEST FAÇADE]
+
+[Illustration: PLATE 293
+
+DETAIL OF THE ONLY ANCIENT “JALOUSIE” REMAINING IN THE ALHAMBRA]
+
+[Illustration: PLATE 294
+
+EL JARRO. ARAB VASE NOW IN THE MUSEUM OF THE PALACE]
+
+[Illustration: PLATE 295
+
+EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF
+THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM
+OF THE PALACE]
+
+[Illustration: PLATE 296
+
+AN ARAB VASE OF THE FOURTEENTH CENTURY IN THE NICHE WHEREIN IT STOOD
+UNTIL THE YEAR 1837]
+
+[Illustration: PLATE 297
+
+SWORD OF THE LAST MOORISH KING OF GRANADA, COMMONLY CALLED “THE SWORD OF
+BOABDIL”]
+
+[Illustration: PLATE 298
+
+THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY
+2, 1492]
+
+[Illustration: PLATE 299
+
+GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE
+ALHAMBRA, WHO REIGNED 1232-1272 A.D.]
+
+[Illustration: PLATE 300
+
+DETAILS AND INSCRIPTIONS, AND ARABIAN CAPITALS]
+
+[Illustration: PLATE 301
+
+THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA,
+TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492]
+
+[Illustration: PLATE 302
+
+MOSAIC PAVEMENT IN THE QUEEN’S DRESSING ROOM (TOCADOR DE LA REYNA)
+
+MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA]
+
+[Illustration: PLATE 303
+
+THE HOUSE OF CARBON]
+
+[Illustration: PLATE 304
+
+THE ANCIENT GRANARY MARKET AND HOUSE OF CARBON]
+
+[Illustration: PLATE 305
+
+ELEVATION OF THE CASA DEL CARBON, OR HOUSE OF CARBON, ONCE KNOWN AS THE
+HOUSE OF THE WEATHERCOCK]
+
+[Illustration: PLATE 306
+
+COURTYARD OF A MOORISH HOUSE IN THE ALBAICIN]
+
+[Illustration: PLATE 307
+
+INTERIOR OF AN ARAB HOUSE IN THE ALBAICIN]
+
+[Illustration: PLATE 308
+
+THE PROCLAMATION OF BOABDIL. BY PLÁCIDO FRANCES
+
+(NATIONAL EXHIBITION OF BEAUX ARTS, 1884)]
+
+[Illustration: PLATE 309
+
+THE AUTHOR IN THE ALHAMBRA]
+
+[Illustration: PLATE 310
+
+CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA. THE SPLENDID CORNICE AT
+THE RIGHT-HAND TOP CORNER IS FROM THE LOGGIA OF THE GENERALIFE]
+
+[Illustration: PLATE 311
+
+MISCELLANEOUS ORNAMENT IN THE ALHAMBRA]
+
+[Illustration: PLATE 312
+
+THE FABLE OF JUPITER AND LEDA IN THE ALHAMBRA]
+
+[Illustration: PLATE 313
+
+BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA]
+
+[Illustration: PLATE 314
+
+ARABIAN SWORD]
+
+[Illustration: PLATE 315
+
+CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA]
+
+[Illustration: PLATE 316
+
+ENCAUSTIC-TILE WORK IN THE ROYAL ROOM OF SANTO DOMINGO]
+
+[Illustration: PLATE 317
+
+VARIOUS MOSAICS FROM THE ALHAMBRA]
+
+[Illustration: PLATE 318
+
+INSCRIPTIONS IN THE ALHAMBRA]
+
+[Illustration: PLATE 319
+
+PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE
+ALHAMBRA]
+
+[Illustration: PLATE 320
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
+
+[Illustration: PLATE 321
+
+ANCIENT CISTERN. EARLY FOURTEENTH CENTURY]
+
+[Illustration: PLATE 322
+
+THE ALHAMBRA
+
+_Specially drawn for The Spanish Series_]
+
+[Illustration: PLATE 323
+
+PART OF EXTERIOR OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 324
+
+ELEVATION OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 325
+
+SECTION OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 326
+
+FOUNTAIN OF THE EMPEROR CHARLES V.]
+
+[Illustration: PLATE 327
+
+VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
+
+[Illustration: PLATE 328
+
+INTERIOR OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 329
+
+DOORWAY OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 330
+
+BAS-RELIEF IN THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 331
+
+PORCH OF THE PALACE OF CHARLES V. FROM THE WEST]
+
+[Illustration: PLATE 332
+
+ROMAN COURT, PALACE OF CHARLES V.]
+
+[Illustration: PLATE 333
+
+GROUND PLAN OF THE GENERALIFE AT GRANADA
+
+A. Advanced parts
+B. The Inner Gallery, commanding a view of the Gardens
+C, C, C, C. Terraces and Aqueducts
+D, D, D, E, E. The surrounding country
+]
+
+[Illustration: PLATE 334
+
+THE GENERALIFE]
+
+[Illustration: PLATE 335
+
+THE PRINCIPAL COURT OF THE GENERALIFE]
+
+[Illustration: PLATE 336
+
+THE COURT OF THE FISH POND IN THE GENERALIFE]
+
+[Illustration: PLATE 337
+
+PROMENADES AND GARDENS OF THE GENERALIFE]
+
+[Illustration: PLATE 338
+
+THE GENERALIFE]
+
+[Illustration: PLATE 339
+
+FRONT VIEW OF THE PORTICO OF THE GENERALIFE]
+
+[Illustration: PLATE 340
+
+TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE]
+
+[Illustration: PLATE 341
+
+GALLERY IN THE GENERALIFE]
+
+[Illustration: PLATE 342
+
+THE GENERALIFE
+
+GALLERY IN THE ACEQUIA COURT]
+
+[Illustration: PLATE 343
+
+THE GENERALIFE
+
+ENTRANCE TO THE PORTRAIT GALLERY]
+
+[Illustration: PLATE 344
+
+GARDEN OF THE GENERALIFE]
+
+[Illustration: PLATE 345
+
+ELEVATION OF THE PORTICO OF THE GENERALIFE]
+
+[Illustration: PLATE 346
+
+THE ACEQUIA COURT IN THE GENERALIFE]
+
+[Illustration: PLATE 347
+
+A CORNER OF THE ACEQUIA COURT IN THE GENERALIFE]
+
+[Illustration: PLATE 348
+
+CYPRESS COURT
+
+A CORNER IN THE ACEQUIA COURT]
+
+[Illustration: PLATE 349
+
+THE CYPRESS OF THE SULTANA IN THE GENERALIFE]
+
+[Illustration: PLATE 350
+
+A CEILING IN THE GENERALIFE]
+
+[Illustration: PLATE 351
+
+THE GENERALIFE. THE ACEQUIA COURT FROM THE MAIN ENTRANCE]
+
+[Illustration: PLATE 352
+
+THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
+
+[Illustration: PLATE 353
+
+EXTERIOR VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 354
+
+ENTRANCE TO THE GENERALIFE]
+
+[Illustration: PLATE 355
+
+THE GENERALIFE. COURT OF THE SULTANA’S CYPRESS]
+
+[Illustration: PLATE 356
+
+THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
+
+[Illustration: PLATE 357
+
+SOUTH FAÇADE OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 358
+
+BAS-RELIEF IN THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 359
+
+BAS-RELIEF IN THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 360
+
+GATE OF THE GRANADAS]
+
+[Illustration: PLATE 361
+
+PROMENADES AND HOTELS OF THE ALHAMBRA]
+
+[Illustration: PLATE 362
+
+THE GATE OF JUSTICE AND FOUNTAIN OF CHARLES V.]
+
+[Illustration: PLATE 363
+
+ENVIRONS OF THE ALHAMBRA. FOUNTAIN OF CHARLES V.]
+
+[Illustration: PLATE 364
+
+GATE OF JUSTICE. PRINCIPAL ENTRANCE TO THE ALHAMBRA]
+
+[Illustration: PLATE 365
+
+GATE OF JUSTICE]
+
+[Illustration: PLATE 366
+
+GATE OF THE VINE. EAST FAÇADE]
+
+[Illustration: PLATE 367
+
+ENVIRONS OF THE ALHAMBRA. TOWER OF THE PEAKS]
+
+[Illustration: PLATE 368
+
+TOWER OF THE PEAKS]
+
+[Illustration: PLATE 369
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE SILLA DEL MORO]
+
+[Illustration: PLATE 370
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE GIPSY QUARTERS]
+
+[Illustration: PLATE 371
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE GENERALIFE]
+
+[Illustration: PLATE 372
+
+VIEW OF GRANADA AND THE ALHAMBRA FROM THE SACROMONTE]
+
+[Illustration: PLATE 373
+
+GENERAL VIEW OF THE ALHAMBRA FROM ST. NICHOLAS]
+
+[Illustration: PLATE 374
+
+THE WATCH TOWER, THE CATHEDRAL, AND GRANADA]
+
+[Illustration: PLATE 375
+
+VILLAS ON THE BANKS OF THE RIVER DARRO]
+
+[Illustration: PLATE 376
+
+A VIEW OF THE ALHAMBRA]
+
+[Illustration: PLATE 377
+
+VILLAS ON THE BANKS OF THE RIVER DARRO]
+
+[Illustration: PLATE 378
+
+THE WATCH TOWER AND CATHEDRAL]
+
+[Illustration: PLATE 379
+
+THE RED TOWER]
+
+[Illustration: PLATE 380
+
+THE HOMAGE TOWER AND GIPSY QUARTERS. EXTERIOR OF THEIR CAVES]
+
+[Illustration: PLATE 381
+
+CARRERA DEL RIO DARRO]
+
+[Illustration: PLATE 382
+
+THE GATE OF ELVIRA. THE OLD ENTRANCE TO THE FORTIFICATIONS]
+
+[Illustration: PLATE 383
+
+WASHING PLACE IN THE PUERTA DEL SOL]
+
+[Illustration: PLATE 384
+
+COURTYARD OF AN ARAB HOUSE]
+
+[Illustration: PLATE 385
+
+A MOORISH ARCHWAY]
+
+[Illustration: PLATE 386
+
+INTERIOR OF AN OLD HOUSE IN THE CALLE DEL HORNO DE ORO]
+
+[Illustration: PLATE 387
+
+INTERIOR OF AN OLD HOUSE IN THE ALBAICIN]
+
+[Illustration: PLATE 388
+
+THE CATHEDRAL AND GENERAL VIEW]
+
+[Illustration: PLATE 389
+
+GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 390
+
+GENERAL VIEW OF THE EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 391
+
+ENTRANCE TO THE ROYAL CHAPEL]
+
+[Illustration: PLATE 392
+
+EXTERIOR OF THE ROYAL CHAPEL OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 393
+
+DETAIL OF THE EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 394
+
+EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 395
+
+EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 396
+
+EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 397
+
+EXTERIOR OF THE CATHEDRAL. THE GATE OF PARDON]
+
+[Illustration: PLATE 398
+
+GOTHIC PINNACLE ON THE ROYAL CHAPEL]
+
+[Illustration: PLATE 399
+
+THE CATHEDRAL, VIEW FROM THE CHOIR]
+
+[Illustration: PLATE 400
+
+THE CATHEDRAL. GENERAL VIEW OF THE CHANCEL AND HIGH ALTAR]
+
+[Illustration: PLATE 401
+
+BAS RELIEF IN THE ALTAR-PIECE OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 402
+
+GENERAL VIEW OF THE CHANCEL IN THE CATHEDRAL]
+
+[Illustration: PLATE 403
+
+THE ROYAL CHAPEL. SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 404
+
+ROYAL CHAPEL. DETAIL OF THE SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 405
+
+THE ROYAL CHAPEL. SCULPTURE OF KING FERDINAND THE CATHOLIC]
+
+[Illustration: PLATE 406
+
+SEPULCHRE OF FERDINAND]
+
+[Illustration: PLATE 407
+
+SEPULCHRE OF ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 408
+
+PORTAL OF THE CHURCH OF SAN JUAN DE DIO]
+
+[Illustration: PLATE 409
+
+SEPULCHRE OF ALONSO CANO IN SAN GERONIMO]
+
+[Illustration: PLATE 410
+
+HEAD OF JOHN THE BAPTIST]
+
+[Illustration: PLATE 411
+
+HEAD OF JOHN THE BAPTIST]
+
+[Illustration: PLATE 412
+
+HEAD OF JOHN THE BAPTIST]
+
+[Illustration: PLATE 413
+
+EXTERIOR OF THE CARTUJA MONASTERY]
+
+[Illustration: PLATE 414
+
+SACRISTY IN THE CARTUJA, LEFT SIDE]
+
+[Illustration: PLATE 415
+
+SACRISTY IN THE CARTUJA, RIGHT SIDE]
+
+[Illustration: PLATE 416
+
+CARTUJA. SANTO SANTORUM]
+
+[Illustration: PLATE 417
+
+CARTUJA. DETAIL OF THE CUPBOARDS IN THE SACRISTY]
+
+[Illustration: PLATE 418
+
+ALTARS IN THE CARTUJA. PICTURES BY SANCHEZ Y COTÁN, A MONK OF THE
+ORDER]
+
+[Illustration: PLATE 419
+
+CARTUJA. THE IMMACULATE CONCEPTION. BY MURILLO]
+
+[Illustration: PLATE 420
+
+CARTUJA. THE VIRGIN OF THE ROSARY. BY MURILLO]
+
+[Illustration: PLATE 421
+
+CARTUJA. ST. JOSEPH AND THE CHILD, SCULPTURE BY ALONSO CAÑO]
+
+[Illustration: PLATE 422
+
+CARTUJA. ST. MARY MAGDALENE, SCULPTURE BY ALONSO CAÑO]
+
+[Illustration: PLATE 423
+
+CARTUJA. HORSEMEN HANGING MARTYRS. BY SANCHEZ COTÁN]
+
+[Illustration: PLATE 424
+
+CARTUJA. THE BAPTISM OF OUR LORD. BY SANCHEZ COTÁN]
+
+[Illustration: PLATE 425
+
+CARTUJA. THE HOLY FAMILY. BY SANCHEZ COTÁN]
+
+[Illustration: PLATE 426
+
+THE CRUCIFIXION OF OUR LORD. BY MORALES]
+
+[Illustration: PLATE 427
+
+THE CONCEPTION OF OUR LADY. BY MORALES]
+
+[Illustration: PLATE 428
+
+THE GIPSY QUARTERS. EXTERIOR OF THE CAVES]
+
+[Illustration: PLATE 429
+
+THE GIPSY QUARTERS. AN “AT HOME”]
+
+[Illustration: PLATE 430
+
+GIPSY DANCE IN THEIR QUARTERS]
+
+[Illustration: PLATE 431
+
+GIPSY TYPES AT THE DOORS OF THEIR CAVES]
+
+[Illustration: PLATE 432
+
+GIPSY DANCE IN THEIR QUARTERS]
+
+[Illustration: PLATE 433
+
+GIPSY DANCERS AND THEIR CAPTAIN, J. AMAYA]
+
+[Illustration: PLATE 434
+
+BRIDGE OF THE GENIL]
+
+[Illustration: PLATE 435
+
+GENERAL VIEW]
+
+[Illustration: PLATE 436
+
+GENERAL VIEW OF THE OLD ALBAICIN]
+
+[Illustration: PLATE 437
+
+GENERAL VIEW FROM THE WATCH TOWER]
+
+[Illustration: PLATE 438
+
+OLD ARAB PALACE. NOW THE PROPERTY OF A SPANISH NOBLEMAN]
+
+[Illustration: PLATE 439
+
+THE OLD TOWN HALL]
+
+[Illustration: PLATE 440
+
+THE ROYAL GATE AND STREET OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 441
+
+MONUMENT TO COLUMBUS IN THE PASEO DEL SALÓN]
+
+[Illustration: PLATE 442
+
+THE RAW SILK MARKET]
+
+[Illustration: PLATE 443
+
+THE RAW SILK MARKET. ANCIENT ARAB SILK MARKET]
+
+[Illustration: PLATE 444
+
+EXTERIOR OF AN OLD HOUSE, CUESTA DEL PESCADO]
+
+[Illustration: PLATE 445
+
+THE COURT OF JUSTICE]
+
+[Illustration: PLATE 446
+
+CARRERA DEL DARRO]
+
+[Illustration: PLATE 447
+
+MARKET AND GIPSY FAIR IN THE TRIUNFO]
+
+[Illustration: PLATE 448
+
+CALLE DE SAN ANTON]
+
+[Illustration: PLATE 449
+
+ANTEQUERUELA QUARTER, SIERRA NEVADA, AND THE “LAST SIGH OF THE MOOR”]
+
+[Illustration: PLATE 450
+
+CARRERA DE GENIL AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 451
+
+PLAZA DE MARIANA PINEDA, ARAB HOUSE, AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 452
+
+GENERAL VIEW OF THE ALHAMBRA AND OF THE SIERRA NEVADA FROM ST. MICHAEL]
+
+[Illustration: PLATE 453
+
+HUÉTOR HIGH ROAD AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 454
+
+VILLAS ON THE BORDERS OF THE RIVER DARRO]
+
+[Illustration: PLATE 455
+
+DEFILE OF THE DARRO]
+
+[Illustration: PLATE 456
+
+THE GREEN BRIDGE AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 457
+
+VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 458
+
+GENERAL VIEW OF THE SIERRA NEVADA AND THE RIVER GENIL]
+
+[Illustration: PLATE 459
+
+GRANADA
+
+_Specially drawn for The Spanish Series_]
+
+[Illustration: PLATE 460
+
+ARMS OF GRANADA]
+
+THE
+
+SPANISH SERIES
+
+Edited by ALBERT F. CALVERT
+
+
+A new and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.
+
+
+Crown 8vo Price 3/6 net
+
+ 1 GOYA                            with 600 illustrations
+ 2 TOLEDO                          ”    510        ”
+ 3 MADRID                          ”    450        ”
+ 4 SEVILLE                         ”    300        ”
+ 5 MURILLO                         ”    165        ”
+ 6 CORDOVA                         ”    160        ”
+ 7 EL GRECO                        ”    140        ”
+ 8 VELAZQUEZ                       ”    142        ”
+ 9 THE PRADO                       ”    223        ”
+10 THE ESCORIAL                    ”    278        ”
+11 ROYAL PALACES OF SPAIN          ”    200        ”
+12 GRANADA AND ALHAMBRA            ”    460        ”
+13 SPANISH ARMS AND ARMOUR         ”    386        ”
+14 LEON, BURGOS AND SALAMANCA      ”    462        ”
+15 VALLADOLID, OVIEDO, SEGOVIA,
+   ZAMORA, AVILA AND ZARAGOZA      ”    390        ”
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MURILLO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+While the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.
+
+In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SPANISH ARMS AND ARMOUR
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
+
+
+Although several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.
+
+The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE ESCORIAL
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS
+
+
+The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.
+
+In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+TOLEDO
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS
+
+
+The origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”
+
+But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.
+
+In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SEVILLE
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
+
+
+Seville, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.
+
+Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.
+
+The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE PRADO
+
+A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG
+
+
+This volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.
+
+The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.
+
+The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GRANADA AND THE ALHAMBRA
+
+A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE
+
+
+This volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.
+
+In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so--it is my hope--the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+EL GRECO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES
+
+
+In a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.
+
+El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures--a greater number than has ever before been
+published of El Greco’s works.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VELAZQUEZ
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+Diego Rodriguez de Silva y Velazquez--“our Velazquez,” as Palomino
+proudly styles him--has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.
+
+The great Velazquez, the eagle in art--subtle, simple, incomparable--the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.
+
+The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+ROYAL PALACES OF SPAIN
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED
+
+
+Spain is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.
+
+The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS
+
+
+The glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.
+
+More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.
+
+In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+LEON, BURGOS AND SALAMANCA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS
+
+
+In Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.
+
+Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital; and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.
+
+Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MADRID
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS
+
+
+Madrid is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.
+
+The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GOYA
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES
+
+
+The last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”
+
+The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.
+
+It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+CORDOVA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS
+
+
+Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.
+
+Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.
+
+
+
+
+BY ALBERT F. CALVERT
+
+LIFE OF CERVANTES
+
+A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”
+
+Size Crown 8vo.         150 pp.         Price 3/6 net
+
+PRESS NOTICES
+
+
+“A popular and accessible account of the career of Cervantes.”--_Daily
+Chronicle._
+
+“A very readable and pleasant account of one of the great writers of all
+time.”--_Morning Leader._
+
+“MR. CALVERT is entitled to the gratitude of book-lovers for his
+industrious devotion at one of our greatest literary
+shrines.”--_Birmingham Post._
+
+“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”--_Black and White._
+
+“We recommend the book to all those to whom Cervantes is more than a
+mere name.”--_Westminster Gazette._
+
+“A most interesting résumé of all facts up to the present time
+known.”--_El Nervion de Bilbao, Spain._
+
+“The most notable work dedicated to the immortal author of Don Quixote
+that has been published in England.”--_El Graduador, Spain._
+
+“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.”--_El Defensor de
+Granada, Spain._
+
+BY ALBERT F. CALVERT
+
+THE ALHAMBRA
+
+OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.
+
+Size 10 x 7-1/2.       Price £2 2s. net
+
+PRESS NOTICES
+
+
+“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”--_Building World._
+
+“One is really puzzled where to begin and when to stop in praising the
+illustrations.”--_Bookseller._
+
+“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”--_British Architect._
+
+“A treasure to the student of decorative art.”--_Morning Advertiser._
+
+“Mr. CALVERT has given us a Book Beautiful.”--_Western Daily Press._
+
+“It is the last word on the subject, no praise is too
+high.”--_Nottingham Express._
+
+“May be counted among the more important art books which have been
+published during recent years.”--_The Globe._
+
+“Has a pride of place that is all its own among the books of the
+month.”--_Review of Reviews._
+
+“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”--_El Graduador,
+Spain._
+
+“It is one of the most beautiful books of modern times.”--_Ely Gazette._
+
+“One of the most artistic productions of the year.”--_Publishers’
+Circular._
+
+“The most beautiful book on the Alhambra issued in England.”--_Sphere._
+
+“The standard work on a splendid subject.”--_Daily Telegraph._
+
+“A remarkable masterpiece of book production.”--_Eastern Daily Press._
+
+“A perfect treasure of beauty and delight.”--_Keighley News._
+
+“A magnificent work.”--_Melbourne Age, Australia._
+
+“Immense collection of fine plates.”--_The Times._
+
+“A standard work, the compilation of which would credit a life’s
+labour.”--_Hull Daily Mail._
+
+BY ALBERT F. CALVERT
+
+MOORISH REMAINS IN SPAIN
+
+
+BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.
+
+Crown 4to. (7-1/2 x 10 ins.)     Price £2 2s. net
+
+PRESS NOTICES
+
+
+“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”--_Pall Mall
+Gazette._
+
+“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”--_The Scotsman._
+
+“A most gorgeous book.... We cheerfully admit Mr. CALVERT into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”--_Outlook._
+
+“A large and sumptuous volume.”--_Tribune._
+
+“The illustrations are simply marvels of reproduction.”--_Dundee
+Advertiser._
+
+“One of the books to which a simple literary review cannot pretend to do
+justice.”--_Spectator._
+
+“A special feature of a work of peculiar interest and value are the
+illustrations.”--_Newcastle Chronicle._
+
+“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”--_Liverpool Post._
+
+“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”--_Birmingham Daily Post._
+
+“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”--_Academy._
+
+“It is certainly one of the most interesting books of the
+year.”--_Crown._
+
+“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”--_Guardian._
+
+“An excellent piece of work.”--_The Times._
+
+“Mr. CALVERT has performed a useful work.”--_Daily Telegraph._
+
+“A truly sumptuous volume.”--_The Speaker._
+
+“Mr. CALVERT has given a very complete account of the evolution of
+Moresco art.”--_The Connoisseur._
+
+
+FOOTNOTES:
+
+[A] He is reckoned as Mohammed VI. by the writers who deny the title of
+Sultan to the usurper of Mohammed V.’s throne.
+
+[B] Known as Mohammed X.
+
+[C] I adopt Mr. U. R. Burke’s statement of the relationship between
+Abu-l-Hassan, Zoraya, and Boabdil. (Burke, “History of Spain,” II. p.
+98.)
+
+[D] Here was lodged the cavalry of the Moorish Sultans.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 64620 ***
diff --git a/64620-h/64620-h.htm b/64620-h/64620-h.htm
new file mode 100644
index 0000000..459687e
--- /dev/null
+++ b/64620-h/64620-h.htm
@@ -0,0 +1,8672 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en">
+  <head>  <link rel="coverpage" href="images/cover.jpg" />
+<meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
+<title>
+  The Project Gutenberg eBook of Granada
+and the Alhambra, by Albert F. Calvert.
+</title>
+<style type="text/css">
+
+a:link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+  link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
+
+a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
+
+big {font-size: 130%;}
+
+body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;}
+
+.bxx {border:1px solid black;padding:1em;
+margin:1em auto;max-width:15em;}
+
+.c {text-align:center;text-indent:0%;}
+
+.caption  {font-weight:normal;}
+.caption p{font-size:75%;text-align:center;text-indent:0%;}
+
+.cb {text-align:center;text-indent:0%;font-weight:bold;}
+
+.chuge {text-align:center;text-indent:0%;font-weight:bold;
+font-size:225%;letter-spacing:.1em;}
+
+.cund {text-align:center;text-indent:0%;
+text-decoration:underline;}
+
+.footnotes  {border:dotted 3px gray;margin-top:5%;clear:both;}
+
+.footnote   {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;}
+
+.label  {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;}
+
+.fnanchor   {vertical-align:30%;font-size:.8em;}
+
+.figcenter   {margin:3% auto 3% auto;clear:both;
+text-align:center;text-indent:0%;page-break-before:always;}
+
+.hang {text-indent:-2%;margin-left:2%;}
+
+ h1 {margin-top:5%;text-align:center;clear:both;margin-bottom:.001em;
+font-weight:bold;font-size:255%;}
+
+ h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both;
+ font-size:175%;font-weight:normal;}
+
+ h3 {margin:4% auto 2% auto;text-align:center;clear:both;
+font-size:120%;font-weight:normal;}
+
+ h4 {margin:4% auto 2% auto;text-align:center;clear:both;
+font-size:100%;font-weight:normal;}
+
+ hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;}
+
+ hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black;
+padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;}
+
+ img {border:none;}
+
+.letra {font-size:250%;float:left;margin-top:-1%;}
+
+.lnht {line-height:1.5em;}
+
+.nind {text-indent:0%;}
+
+.nonvis {display:inline;}
+ @media print, handheld
+ {.nonvis
+ {display: none;}
+ }
+
+ p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;}
+
+.pagenum  {font-style:normal;position:absolute;
+left:95%;font-size:55%;text-align:right;color:gray;
+background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;}
+@media print, handheld
+{.pagenum
+ {display: none;}
+ }
+
+.pdd {padding-left:1em;text-indent:-1em;}
+
+.r {text-align:right;margin-right: 5%;}
+
+.redd {color:#DE0810;}
+
+.rt {text-align:right;}
+
+small {font-size: 70%;}
+
+.smcap  {font-variant:small-caps;font-size:100%;}
+
+table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;}
+
+td.spc {padding-left:2em;padding-right:2em;}
+
+div.poetry {text-align:center;}
+div.poem {font-size:100%;margin:auto auto;text-indent:0%;
+display: inline-block; text-align: left;}
+.poem .stanza     {margin-top: 1em;margin-bottom:1em;}
+.poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+.poem span.i1     {display: block; margin-left: .45em; padding-left: 3em; text-indent: -3em;}
+
+div.blk {font-size:140%;margin: 0em auto 4em auto;text-indent:0%;
+display: inline-block; text-align: left;}
+</style>
+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 64620 ***</div>
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/front.jpg">
+<img src="images/front.jpg"
+height="550" alt="[Image of
+the book's cover unavailable.]" /></a>
+</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"><a href="#CONTENTS">Contents.</a></p>
+
+<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><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"><a href="#PLAN_OF_GRANADA">Plan of Granada</a></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></p>
+
+<p class="c">THE SPANISH SERIES</p>
+
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<p class="c">GRANADA AND<br />
+THE ALHAMBRA</p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table>
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Granada and Alhambra</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Leon, Burgos and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia</span><br />
+<span class="smcap">Zamora, Avila and Zaragoza</span><br />
+</td></tr>
+</table>
+
+</div>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<h1><span class="redd">
+GRANADA &nbsp;AND<br />
+THE ALHAMBRA</span></h1>
+
+<div class="poetry">
+<div class="blk">A BRIEF DESCRIPTION OF THE<br />
+ANCIENT CITY OF &nbsp; GRANADA<br />
+WITH A PARTICULAR ACCOUNT<br />
+OF &nbsp; &nbsp; THE&nbsp;  &nbsp; MOORISH &nbsp; PALACE<br />
+BY &nbsp; &nbsp; &nbsp; ALBERT &nbsp; &nbsp; F. &nbsp; &nbsp; CALVERT<br />
+WITH &nbsp; &nbsp; &nbsp;460&nbsp; &nbsp; &nbsp; ILLUSTRATIONS<br />
+</div></div>
+
+<p class="c"><span class="redd">
+LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>NEW YORK: JOHN LANE COMPANY MCMVII<br />
+<br /><br />
+Printed by <span class="smcap">Ballantyne &amp; Co. Limited</span><br />
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span>Tavistock Street, London<br />
+<br />
+<br /><br /><span class="lnht">
+TO<br />
+H.I.M. THE EMPRESS EUGÉNIE<br />
+THIS SOUVENIR OF THAT FAIR GRANADAN HOME<br />
+FROM WHICH SHE CARRIED<br />
+THE CROWN OF SPANISH BEAUTY<br />
+TO GRACE THE THRONE OF FRANCE<br />
+IS DEDICATED<br />
+IN ACCORDANCE WITH HER MAJESTY’S<br />
+GRACIOUS PERMISSION<br /></span>
+<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p>
+
+<h2><a name="PREFACE_TO_FIRST_EDITION" id="PREFACE_TO_FIRST_EDITION"></a>PREFACE TO FIRST EDITION</h2>
+
+<p class="nind"><span class="smcap">Although</span> the admission may be construed by the censorious as betraying a
+lack of becoming diffidence, I am tempted to believe that no apology
+will be demanded for the publication of this volume by that section of
+the reading public for which it has been chiefly compiled. My temerity
+goes even further, and I anticipate with some confidence that visitors
+to the Alhambra, and pilgrims to that famous Mecca of Moorish
+workmanship, will recognise in this book an earnest attempt to supply a
+long-felt want. When I paid my first visit to Granada some years ago, I
+was surprised and disappointed to find that no such thing as an even
+fairly adequate illustrated souvenir of this “city of the dawn” was to
+be obtained. Many tomes, costly and valuable (not necessarily the same
+thing), have been written to place on record the wonders of “the
+glorious sanctuary of Spain,” but these are beyond the reach of the
+general public. Many beautiful pictures have caught odd ecstasies of<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span>
+this superb and perfectly harmonised palace of art, but these
+impressions are not available to the ordinary tourist.</p>
+
+<p>What is wanted, as I imagine, is a concise history and description of
+the Alhambra, illustrated with a series of pictures constituting a
+tangible remembrancer of the delights of this Granadian paradise</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Where glory rests ’tween laurels,<br /></span>
+<span class="i1">A torch to give thee light!”<br /></span>
+</div></div>
+</div>
+
+<p>The Alhambra may be likened to an exquisite opera which can only be
+appreciated to the full when one is under the spell of its magic
+influence. But as the witchery of an inspired score can be recalled by
+the sound of an air whistled in the street, so&mdash;it is my hope&mdash;the pale
+ghost of this Moorish fairy-land may live again in the memories of
+travellers through the medium of this pictorial epitome.</p>
+
+<p>I desire, however, to submit an explanation&mdash;or excuse&mdash;for the unusual
+form in which this volume is issued. At the commencement of my work I
+experienced no little difficulty in collecting the requisite
+illustrations, for most of the obtainable photographs were ill-chosen
+and but carelessly developed, and I was compelled to press my own
+cameras into the service of my scheme. But when my designs became known,
+I was inundated with offers of pictures of every description, until<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> the
+embarrassment of artistic treasures entirely upset the original purpose
+of my book. Artists placed their studies at my disposal; collectors
+begged me, with irresistible Spanish courtesy, to regard their galleries
+as my own; and students directed my attention to little-known
+publications on the subject.</p>
+
+<p>Don Mariano Contreras, Conservator of the Alhambra, the son of the
+gifted Raphaël Contreras, who devoted thirty-seven years of his life to
+the restoration of the Palace&mdash;gave me the benefit of his knowledge of
+this unique treasure-house of art; and I have also laid under
+contribution the beautiful plates of Owen Jones, who disposed of a Welsh
+inheritance in order to produce his great work on the <i>Plans,
+Elevations, Sections, and Details of the Alhambra</i>. Jones’s <i>Grammar of
+Ornament</i>, which has been described as “beautiful enough to be the
+horn-book of the Angels,” also contains the result of his researches in
+the Alhambra, which occupied him for the greater part of eleven years. A
+selection of these illustrations is here rescued from the obscurity of
+public libraries and the inaccessible fastnesses of private collections.
+The inclusion of John F. Lewis’s drawings, and the reproduction of a
+series of pictures by James C. Murphy, who spent seven years in the
+study of the artistic marvels of the Alhambra, I do not feel called upon
+to defend.<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span> The photographs, several of which were placed at my disposal
+by Don Rafaël Garzón, represent the buildings as they appear to-day; the
+drawings were made before the Palace was damaged by the disastrous fire
+of September, 1890.</p>
+
+<p>For the historical portions of the description contained in the
+letterpress I have levied tribute on a variety of authors. <i>The History
+of the Mohammedan Dynasties in Spain</i>, by the learned Spanish
+Orientalist, Don Pascual de Gayángos; Raphaël Contreras’ <i>Étude
+Descriptive des Monuments Arabes</i>; Richard Ford’s reverent
+appreciations; Dr. R. Dozy’s history; Mr. Stanley Lane-Poole’s <i>The
+Moors in Spain</i>; Washington Irving’s fascinating writings; and <i>The
+Alhambra Album</i>, presented by Prince Dolgorouki in 1829, containing the
+autographs, poems, and thoughts of succeeding generations of visitors to
+Granada, these and many others have been drawn upon in the following
+pages.</p>
+
+<p>But the multiplicity of my illustrations convinced me that if I adhered
+to my idea of furnishing an amount of letterpress sufficient to “carry”
+the blocks, I should only end in producing a book that would tax the
+physical endurance of my readers by reason of its bulk, and exhaust
+their patience with a tedious super-abundance of minute descriptive
+pabulum. I resolved, therefore, to give pride of place to the<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span> pictorial
+side of the volume; to abandon the traditions regulating the proportions
+of prose to pictures; and make my appeal to the public by the beauty and
+variety of the illustrations I have collected, and the immensity of
+elaborate letterpress which I have not written.</p>
+
+<p class="r">
+A. F. C.<br />
+</p>
+
+<p class="hang">
+“<span class="smcap">Royston</span>,”<br />
+<span class="smcap">Hampstead</span>, N.W., 1904.<br />
+<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></p>
+
+<h2><a name="PREFACE_TO_SECOND_EDITION" id="PREFACE_TO_SECOND_EDITION"></a>PREFACE TO SECOND EDITION</h2>
+
+<p class="nind"><span class="smcap">The</span> compilation of a book of this kind reveals in the author a
+refreshing optimism which does not always survive the ordeal of
+publication, and it is, perhaps, out of sympathy with the misgivings
+that assail him as he approaches the bar of public and critical opinion,
+that convention cedes to him the privilege of making some apology for
+the faith that is in him. In his preface he is permitted to explain
+himself, and this <i>apologia</i> or justification, call it which you will,
+stands as the last word in his own defence. But the demand for a further
+edition is the outcome of an amiable conspiracy on the part of the
+public, and it is not required of the author to explain, justify, or
+excuse an issue for which he is not directly responsible. Any revision
+or amplification, however, which is to be found in a second impression,
+may be briefly referred to, and at the same time tradition allows him to
+express the feelings of gratitude and gratification that the occasion
+inspires.</p>
+
+<p>It has been my ambition to acknowledge the<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span> favour with which this book
+has been received, by having the present edition produced with the
+greatest care on special paper, and by the addition of a number of new
+illustrations, including some half-tone and coloured plates reproduced
+from the <i>Monumentos Arquitectónicos de España</i> and other sources, which
+I have acquired since it was first produced. It will be seen that
+several of the coloured pictures in this book illustrate designs which
+are common to the Arabian ornamentation to be found in Cordova and
+Seville, and, as being representative of the Moresco work of the period,
+they also appear in the companion volume on <i>Moorish Remains in Spain</i>,
+but it may be stated that the whole of the plates reproduced here are
+from photographs and drawings secured or specially made to illustrate
+<i>The Alhambra</i>. In its pictorial appeal it has been my ambition to make
+this edition as worthy of its subject as means and ability permit, and I
+offer this assurance as an earnest of my sincere appreciation of the
+generous manner in which the Press and public rewarded my previous
+effort.</p>
+
+<p class="r">
+A. F. C.<br />
+<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></p>
+
+<h2><a name="PREFACE_TO_NEW_EDITION" id="PREFACE_TO_NEW_EDITION"></a>PREFACE TO NEW EDITION</h2>
+
+<p class="nind"><span class="smcap">The</span> generous appreciation with which my larger book on the Alhambra was
+received by both the Press and the public in Spain and America, as well
+as in this country, encourages me to hope that the present volume will
+prove a popular addition to this Spanish Series. Three years ago, when I
+published <i>The Alhambra</i> to supply what my own experience taught me to
+be a real want, the scale and quality of the illustrations made it
+impossible to issue the work at a popular price. I am now enabled to
+present an inexpensive and, I trust, adequate souvenir of the
+fascinating city of Granada and its Red Palace. The text is no mere
+reprint of the matter which appeared in my former work, but embodies the
+results of a more critical, though not less appreciative, survey of the
+last monuments of the Spanish Moor. Bearing in mind, too, that the
+illustrations, being on a reduced scale, called for fuller explanation,
+I have endeavoured to condense as much detail and descriptive matter
+into the letterpress as the limits I had laid down for myself admitted.<span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span>
+Those limits were still further encroached upon by the additional wealth
+of illustration which resulted from the decision to include the city of
+Granada in a work which, in previous issues, had been devoted entirely
+to the palace of the Alhambra, and the new pictorial matter so acquired
+threatened to annex all the space allotted for the text. But little as I
+liked the idea of further condensing the letterpress, I was even less
+inclined to neglect the opportunity of enhancing the pictorial value of
+the volume. In dealing with the Moorish art of Spain, I have always
+recognised that the popular want is for pictures rather than the printed
+word, and I venture to hope that the present volume, which surpasses its
+costlier predecessors in the number of the plates reproduced, will
+constitute a serviceable if not exhaustive guide to the beautiful
+Moorish capital, and an artistic remembrancer of its fascinating
+monuments.</p>
+
+<p>I have to acknowledge my obligations to Mr. E. B. d’Auvergne for his
+kind and valuable assistance in the compilation of the text, and for
+permission to reproduce many of the additional photographs I am indebted
+to the courtesy of Don Senan y Gonzalez, of Herr Ernst Wasmuth of
+Berlin, publisher of Uhde’s <i>Baudenkmaeler in Spanien und Portugal</i>, and
+of Herr Eugen Twietmeyer of Leipzig, publisher of Junghandel’s <i>Die
+Baukunst Spaniens</i>.<span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></p>
+
+<p>As I have remarked in the preface to the volume on Cordova, it may be
+thought that in the present work I have given an excess of detail of
+Arabian decoration and ornament, but it has been my aim to provide the
+last word on Moorish art&mdash;so far at least as the pictorial
+representation of it is concerned&mdash;wherever I have dealt with it in
+Spain. To the general reader these reproductions of tracery and
+elaborate detail may seem superfluous, but they will, I trust, lend to
+the book an additional interest in the eyes of students and artists, for
+whose delectation they are included here.</p>
+
+<p class="r">
+A. F. C.<br />
+<span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span><span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" style="margin:auto auto;
+max-width:70%;">
+
+<tr><td>&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+<tr><td valign="top"><span class="smcap"><a href="#THE_CITY_OF_THE_MOOR">The City of the Moor</a></span></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+
+<tr><td valign="top"><span class="smcap"><a href="#THE_ALHAMBRA">The Alhambra</a></span></td><td class="rt" valign="bottom"><a href="#page_25">25</a></td></tr>
+
+<tr><td valign="top"><span class="smcap"><a href="#THE_GENERALIFE">The Generalife</a></span></td><td class="rt" valign="bottom"><a href="#page_61">61</a></td></tr>
+
+<tr><td valign="top"><span class="smcap"><a href="#CATHOLIC_GRANADA">Catholic Granada</a></span></td><td class="rt" valign="bottom"><a href="#page_65">65</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span>&nbsp; </p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0"  style="margin:auto auto;
+max-width:70%;">
+
+<tr><td class="c"><small>TITLE</small></td>
+<td class="rt"><small>PLATE</small></td> </tr>
+<tr><td valign="top" class="pdd"><a href="#plt_001">View of Granada, showing the Alhambra and the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_001">1</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_002">General View of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_002">2</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_003">View of the Alhambra from the Sacromonte Road</a></td><td class="rt" valign="bottom"><a href="#plt_003">3</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_004">The Alhambra from the Moor’s Seat&mdash;La Silla del Moro</a></td><td class="rt" valign="bottom"><a href="#plt_004">4</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_005">General View of the Alhambra from San Nicolás</a></td><td class="rt" valign="bottom"><a href="#plt_005">5</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_006">View of the Gate of Elvira</a></td><td class="rt" valign="bottom"><a href="#plt_006">6</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_007">A View of the Alhambra from the Albaicin (<i>Sketch</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_007">7</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_008">View of the Cathedral and the Alhambra from San Gerónimo</a></td><td class="rt" valign="bottom"><a href="#plt_008">8</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_009">View of the Sierra Nevada from the Carrera de las Angustias</a></td><td class="rt" valign="bottom"><a href="#plt_009">9</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_010">View of the Royal Gate</a></td><td class="rt" valign="bottom"><a href="#plt_010">10</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_011">View from the Tower in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_011">11</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_012">La Plaza Nueva</a></td><td class="rt" valign="bottom"><a href="#plt_012">12</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_013">Monument to Columbus in the Paseo del Salon; the Sierra Nevada in the Distance</a></td><td class="rt" valign="bottom"><a href="#plt_013">13</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_014">The Street of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_014">14</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_015">Arab Silk Market</a></td><td class="rt" valign="bottom"><a href="#plt_015">15</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_016">La Casa de los Tiros</a></td><td class="rt" valign="bottom"><a href="#plt_016">16</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_017">Church of Santa Ana</a></td><td class="rt" valign="bottom"><a href="#plt_017">17</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_018">Limoges Enamel Triptych which belonged to the Gran Capitán. (Provincial Museum, Granada)</a></td><td class="rt" valign="bottom"><a href="#plt_018">18</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_019">Altar in the Church of San Gerónimo</a></td><td class="rt" valign="bottom"><a href="#plt_019">19</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_020">House in the Calle de Darro. The Palacio de Justicia</a></td><td class="rt" valign="bottom"><a href="#plt_020">20</a><span class="pagenum"><a name="plt_xxii" id="plt_xxii">{xxii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_021">The House of Castril</a></td><td class="rt" valign="bottom"><a href="#plt_021">21</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_022">Typical Gypsies and their Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_022">22</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_023">Gypsies in Front of their Dwellings</a></td><td class="rt" valign="bottom"><a href="#plt_023">23</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_024">Gypsy-dwellings in the Sacromonte</a></td><td class="rt" valign="bottom"><a href="#plt_024">24</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_025">General View of the Gypsy Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_025">25</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_026">Interior of a Gypsy’s Cave</a></td><td class="rt" valign="bottom"><a href="#plt_026">26</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_027">Group of Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_027">27</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_028">A Gypsy Family</a></td><td class="rt" valign="bottom"><a href="#plt_028">28</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_029">Gypsies bivouacking</a></td><td class="rt" valign="bottom"><a href="#plt_029">29</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_030">Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_030">30</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_031">Gypsies clipping a Mule</a></td><td class="rt" valign="bottom"><a href="#plt_031">31</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_032">Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_032">32</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_033">Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_033">33</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_034">Gypsy Dance</a></td><td class="rt" valign="bottom"><a href="#plt_034">34</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_035">Interior of the Sacristy of the Cartuja</a></td><td class="rt" valign="bottom"><a href="#plt_035">35</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_036">Interior of Cartuja: The Sacristy</a></td><td class="rt" valign="bottom"><a href="#plt_036">36</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_037">Interior of the Cartuja Church</a></td><td class="rt" valign="bottom"><a href="#plt_037">37</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_038">Saint Bruno, by Alonso Cano, at the Carthusian Monastery of Granada</a></td><td class="rt" valign="bottom"><a href="#plt_038">38</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_039">Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_039">39</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_040">The Gate of Pardon and the Exterior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_040">40</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_041">Façade of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_041">41</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_042">Exterior Gate of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_042">42</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_043">Detail in the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_043">43</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_044">Ancient Gothic Entrance to the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_044">44</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_045">General Exterior View of the Royal Chapel, Upper Part</a></td><td class="rt" valign="bottom"><a href="#plt_045">45</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_046">General Exterior View of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_046">46</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_047">Façade of the Cathedral. Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_047">47</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_048">General View of the Interior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_048">48</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_049">The Cathedral. General View of the Interior</a></td><td class="rt" valign="bottom"><a href="#plt_049">49</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_050">The Cathedral. View of the Principal Nave</a></td><td class="rt" valign="bottom"><a href="#plt_050">50</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_051">The High Altar in the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_051">51</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_052">Altar-piece in the Royal Chapel, by F. de Borgoña</a></td><td class="rt" valign="bottom"><a href="#plt_052">52</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_053">The Cathedral. Boabdil
+giving up the Keys of Granada to the Catholic Sovereigns. Fragment of the Altar-piece in the Royal Chapel</a><span class="pagenum"><a name="plt_xxiii" id="plt_xxiii">{xxiii}</a></span></td><td class="rt" valign="bottom"><a href="#plt_053">53</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_054">The Inner Choir of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_054">54</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_055">The Cathedral. Tombs of the Catholic Sovereigns in the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_055">55</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_056">View of the Royal Chapel and Tombs of the Catholic Sovereigns, by P. Gonzalvo</a></td><td class="rt" valign="bottom"><a href="#plt_056">56</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_057">Royal Chapel. Tombs of Ferdinand and Isabella</a></td><td class="rt" valign="bottom"><a href="#plt_057">57</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_058">Vault of the Catholic Sovereigns at Granada</a></td><td class="rt" valign="bottom"><a href="#plt_058">58</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_059">Tombs of Ferdinand and Isabella, Doña Juana and Philip the Handsome</a></td><td class="rt" valign="bottom"><a href="#plt_059">59</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_060">Tombs of Ferdinand and Isabella, Doña Juana and Philip the Handsome</a></td><td class="rt" valign="bottom"><a href="#plt_060">60</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_061">Sceptre, Crown, Sword, Mass-book, and Coffer of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_061">61</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_062">Relics of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_062">62</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_063">Royal Chapel: Statue of Queen Isabella the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_063">63</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_064">Statue of Isabella the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_064">64</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_065">Chapel of San Miguel in the Cathedral, Marble Sculpture</a></td><td class="rt" valign="bottom"><a href="#plt_065">65</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_066">Plan of the Alhambra Palace at Granada</a></td><td class="rt" valign="bottom"><a href="#plt_066">66</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_067">General Plan of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_067">67</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_068">General View of the Alhambra from San Nicolás</a></td><td class="rt" valign="bottom"><a href="#plt_068">68</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_069">The Red Towers from the Ramparts</a></td><td class="rt" valign="bottom"><a href="#plt_069">69</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_070">View of the Alhambra from the Sacromonte</a></td><td class="rt" valign="bottom"><a href="#plt_070">70</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_071">General View of the Alhambra and Algibillo Promenade</a></td><td class="rt" valign="bottom"><a href="#plt_071">71</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_072">View of the Alhambra from the Cuesta del Chapiz</a></td><td class="rt" valign="bottom"><a href="#plt_072">72</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_073">The Red Towers</a></td><td class="rt" valign="bottom"><a href="#plt_073">73</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_074">General View of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_074">74</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_075">The Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_075">75</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_076">The Infantas’ Tower and Captive’s Tower</a></td><td class="rt" valign="bottom"><a href="#plt_076">76</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_077">View of the Watch Tower and Granada</a></td><td class="rt" valign="bottom"><a href="#plt_077">77</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_078">View of the Ramparts and the Watch Tower</a></td><td class="rt" valign="bottom"><a href="#plt_078">78</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_079">The Aqueduct Tower and the Aqueduct</a></td><td class="rt" valign="bottom"><a href="#plt_079">79</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_080">The Gate of Justice. Detail of a Door in the Court of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_080">80</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_081">The Alhambra and the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_081">81</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_082">Granada, from the Homage Tower</a></td><td class="rt" valign="bottom"><a href="#plt_082">82</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_083">“The Queen’s Dressing-room,” at the Summit of the Mihrab Tower, with Distant View of the Generalife</a>
+<span class="pagenum"><a name="plt_xxiv" id="plt_xxiv">{xxiv}</a></span></td><td class="rt" valign="bottom"><a href="#plt_083">83</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_084">The Gate of Justice, erected by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_084">84</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_085">The Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_085">85</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_086">The Captive’s Tower</a></td><td class="rt" valign="bottom"><a href="#plt_086">86</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_087">Exterior of the Mosque, Private Property</a></td><td class="rt" valign="bottom"><a href="#plt_087">87</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_088">Tower of the Aqueduct</a></td><td class="rt" valign="bottom"><a href="#plt_088">88</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_089">Ascent to the Alhambra by the Cuesta del Rey Chico&mdash;Lesser King Hill</a></td><td class="rt" valign="bottom"><a href="#plt_089">89</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_090">The Ladies’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_090">90</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_091">Part of the Alhambra, Exterior</a></td><td class="rt" valign="bottom"><a href="#plt_091">91</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_092">The Homage Tower. Ancient Arab Ruins in the Alcazába</a></td><td class="rt" valign="bottom"><a href="#plt_092">92</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_093">Gate of Justice, the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_093">93</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_094">Gate of Justice (<i>Sketch</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_094">94</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_095">The Gate of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_095">95</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_096">Plan, Height, and Details of the Gate of the Law, commonly called of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_096">96</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_097">Elevation of the Ancient Gate of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_097">97</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_098">Portal commonly called the Wine Gate</a></td><td class="rt" valign="bottom"><a href="#plt_098">98</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_099">Porch of the Gate of Judgment</a></td><td class="rt" valign="bottom"><a href="#plt_099">99</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_100">Elevation of the Wine Gate</a></td><td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_101">Transverse Section of Part of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_102">Section showing Heights of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_102">102</a>,&nbsp;<a href="#plt_103">103</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_104">Promenades at the Entrance to the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_104">104</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_105">The Hall of Justice and Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_106">Hall of Justice. Left Side</a></td><td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_107">Hall of Justice, showing Fountain of Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_108">Section of the Hall of Justice (looking East)</a></td><td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_109">Section of the Hall of Justice (looking towards the Court of the Lions)</a></td><td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_110">Vertical Section of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_111">Details of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_112">Plan and Window of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_113">Painting on the Ceiling of the Hall of Justice. No. 1</a></td><td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_114">Painting on the Ceiling of the Hall of Justice. No. 3</a></td><td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_115">Part of Picture in the Hall of Justice&mdash;The Moor’s Return from Hunting</a></td><td class="rt" valign="bottom"><a href="#plt_115">115</a><span class="pagenum"><a name="plt_xxv" id="plt_xxv">{xxv}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_116">Hall of Justice&mdash;The Death of the Lion at the Hands of a Christian Knight</a></td><td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_117">Part of Picture in the Hall of Justice representing a Christian Knight rescuing a Maiden from a wicked Magician, or Wild-Man-o’-the-Woods</a></td><td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_118">Part of Picture in Hall of Justice&mdash;Moorish Huntsman slaying the Wild Boar</a></td><td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_119">Hall of Justice&mdash;Three Figures from the Picture of the Moorish Tribunal</a></td><td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_120">The Mosque and Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_121">Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_122">Façade of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_123">Interior of the Mosque in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_124">Interior of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_125">Elevation of the Portico adjacent to the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_126">Detail of the Entrance Door of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_127">An Arched Window of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_128">An Arched Window of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_128">128</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_129">The Koran Recess in the Mosque, the Scene of Yusuf’s Assassination</a></td><td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_130">The Mosque from Koran Recess</a></td><td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_131">Details of Ornament of Koran Recess near the Entrance Door of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_132">Cornice and Window in the Façade of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_132">132</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_133">Vertical Section of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_134">Arab Lamp in Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_135">Details of the Front of the Mosque of the Harem</a></td><td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_136">Details of Ornament in the Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_137">Details in the Court of the Mosque, Eastern Façade</a></td><td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_138">Ornament in Panels, Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_139">Window in the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_140">Entrance to the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_141">Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_142">Section and Elevation of the Interior of the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_143">Encaustic-tile Work of the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_144">Ornament in Panels, Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_145">Inscriptions in the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_145">145</a><span class="pagenum"><a name="plt_xxvi" id="plt_xxvi">{xxvi}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_146">Kufic Inscriptions, Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_147">“Wa la Ghálib ila Alá”&mdash;There is no Conqueror but God!&mdash;The famous Motto of Mohammed I. and his Successors. An Example from the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_148">The Court of the Lions from the Templete Pomiente</a></td><td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_149">Entrance to the Court of the Lions through the Pomiente Corner</a></td><td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_150">North Gallery and Façade of the Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_151">The Court of the Lions from the Pomiente Corner</a></td><td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_152">View in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_153">View in the Court of the Lions from the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_154">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_155">General View of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_156">Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_157">North Gallery in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_158">Section, Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_159">Pavilion in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_160">Fountain and East Temple in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_161">Hall of Justice and Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_162">Angle in the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_163">Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_163">163</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_164">Ceiling of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_164">164</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_165">The Mosque, and View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_166">Exterior of a Window in the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_167">The Mosque, and View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_168">Interior of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_169">Court of the Mosque, West Façade</a></td><td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_170">Interior of the Mosque, converted into a Roman Catholic Church</a></td><td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_171">Interior of the Mosque, converted into a Roman Catholic Church</a></td><td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_172">Jalousies in the Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_173">Entrance to the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_174">Balcony in the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_175">Detail of the Hall of the Arched Windows</a></td><td class="rt" valign="bottom"><a href="#plt_175">175</a>
+<span class="pagenum"><a name="plt_xxvii" id="plt_xxvii">{xxvii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_176">Detail in the Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_177">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_178">General View of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_179">The Fountain and West Temple of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_180">Elevation of the Fountain of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_181">The Fountain of the Court of the Lions, with Details of the Ornament</a></td><td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_182">Plan of the Basin of the Fountain in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_183">Section of the Pavilion in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_184">Section of the Hall of the Two Sisters, and Section of Part of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_184">184</a>,&nbsp;<a href="#plt_185">185</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_186">Capital in the Court of the Lions, with a Scale of One Metre</a></td><td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_187">Details of the Centre Arcade of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_188">Frieze over Columns, Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_189">Detail of the Central Arch in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_190">The First Six Verses of the Inscription around the Basin of the Fountain of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_191">Entablature in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_192">Cupola of the Pavilion in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_193">Entrance to the Court of the Lions. Little Temple, the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_193">193</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_194">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_195">The Little Temple, and the Fountain, the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_196">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_197">The Court of the Lions, West Angle</a></td><td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_198">Morocco Embassy, December 1885</a></td><td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_199">The Court of the Lions from the West Temple</a></td><td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_200">The Court of the Lions from the West Temple</a></td><td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_201">West Gallery in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_202">The Court of the Lions, Façade of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_203">The Court of the Lions, Left-hand Angle</a></td><td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_204">The Court of the Lions, Façade of the Hall of Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_204">204</a>
+<span class="pagenum"><a name="plt_xxviii" id="plt_xxviii">{xxviii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_205">The Court of the Lions from the Entrance</a></td><td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_206">Detail of the Entrance to the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_207">Detail in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_207">207</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_208">Mosaics, North and South Sides, the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_209">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_210">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_211">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_212">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_213">Wooden Doors, Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_214">Gallery in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_215">Court of the Myrtles; or, of the Fish-pond. Façade of the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_216">Court of the Myrtles; or, of the Fish-pond</a></td><td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_217">General View of the Court of the Myrtles; or, of the Fish-pond</a></td><td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_218">North Side of the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_219">Entrance to the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_220">Gallery in the Court of the Myrtles; or, of the Fish-pond</a></td><td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_221">General View of the Court of the Myrtles and Comares Tower</a></td><td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_222">Court of the Myrtles, East Façade</a></td><td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_223">Detail in the Court of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_224">Court of the Myrtles, East Façade</a></td><td class="rt" valign="bottom"><a href="#plt_224">224</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_225">Exterior of the Gallery in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_225">225</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_226">The Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_227">Ornament in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_227">227</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_228">Court of the Myrtles; or, of the Fish-pond, formed by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_229">The Court of the Fish-pond; or, of the Myrtles. Gallery in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_230">The Hall of the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_230">230</a>
+<span class="pagenum"><a name="plt_xxix" id="plt_xxix">{xxix}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_231">The Sultan’s Bath</a></td><td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_232">The Sultana’s Bath</a></td><td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_233">The Baths, Hall of Repose</a></td><td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_234">Chamber of Repose</a></td><td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_235">Section of the Hall of the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_236">Longitudinal Section through the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_237">Ground Plan of the Baths in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_238">Ceiling of the Hall of the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_239">Plan and Section of the great Cistern in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_240">A Section of the Baths in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_241">Chamber of Repose. Sultan’s Bath constructed by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_242">Interior of the Infantas’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_242">242</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_243">Sections of the Infantas’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_244">Interior of the Tower of the Infantas, Upper Part</a></td><td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_245">Balcony of the “Captive” (Isabel de Solis), overlooking the Vega, or Plain, of Granada</a></td><td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_246">Alcove of the “Captive” (Isabel de Solis)</a></td><td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_247">Interior of the Tower of the “Captive” (Isabel de Solis)</a></td><td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_248">The “Captive’s” Tower from the Entrance</a></td><td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_249">Interior of the Mosque. Room in the “Captive’s” Tower</a></td><td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_250">Hall of Justice. Baths, the Chamber of Repose</a></td><td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_251">Balcony of the Favourite, “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_252">Alcove in the “Lindaraja” Apartments</a></td><td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_253">Garden of “Lindaraja,” and the Apartments traditionally said to have been occupied by “Lindaraja,” a favourite Sultana</a></td><td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_254">Detail, Interior of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_255">Detail, Lower Part of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_256">Detail of the Central Part of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_257">The Queen’s Boudoir and Distant View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_258">The Queen’s Boudoir and View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_258">258</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_259">The Queen’s Boudoir and old Albaicin Quarter</a></td><td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_260">The Queen’s Boudoir and Defile of the Darro</a></td><td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_261">“Lindaraja’s” Garden and the Apartments in which
+Washington Irving stayed</a></td><td class="rt" valign="bottom"><a href="#plt_261">261</a>
+<span class="pagenum"><a name="plt_xxx" id="plt_xxx">{xxx}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_262">Angle of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_263">Balcony of the favourite “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_264">Interior of the Tower of the Captive, Isabel de Solis</a></td><td class="rt" valign="bottom"><a href="#plt_264">264</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_265">Exterior of the Captive’s Tower</a></td><td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_266">The Tower of the Captive, Isabel de Solis</a></td><td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_267">Interior of the Infantas’ Tower, Upper Part</a></td><td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_268">Interior of the Infantas’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_269">Detail of the Upper Part of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_270">Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_271">Entrance to the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_272">Interior of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_272">272</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_273">Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_274">Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_275">Temple and Façade of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_276">View in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_277">Hall of the Two Sisters from the Entrance Door, built by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_278">Upper Balcony of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_278">278</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_279">Hall of the Two Sisters from the Entrance Door</a></td><td class="rt" valign="bottom"><a href="#plt_279">279</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_280">Ceiling of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_280">280</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_281">Detail of the Upper Story, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_281">281</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_282">Detail of the Lateral Windows of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_282">282</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_283">Detail in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_283">283</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_284">Panel, Ornament, and Inscriptions in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_284">284</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_285">Inscription in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_285">285</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_286">Frieze in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_286">286</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_287">Panel on Jambs of Doorways, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_287">287</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_288">Details of the Glazed Tiles in the Dado of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_288">288</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_289">Band round Panels in Windows, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_289">289</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_290">Mosaic in Dado of Recess. Mosaic in Dado of the Entrance to the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_290">290</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_291">Mosaic in Dado of Hall of Ambassadors. Mosaic in Dado of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_291">291</a>
+<span class="pagenum"><a name="plt_xxxi" id="plt_xxxi">{xxxi}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_292">Wine Gate. West Façade</a></td><td class="rt" valign="bottom"><a href="#plt_292">292</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_293">Detail of the only ancient “Jalousie” remaining in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_293">293</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_294">El Jarro. Arab Vase now in the Museum of the Palace</a></td><td class="rt" valign="bottom"><a href="#plt_294">294</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_295">El Jarro. The Arabian Vase and Niche in which it formerly stood, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_295">295</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_296">An Arab Vase of the Fourteenth Century in the Niche wherein it stood until the Year 1837</a></td><td class="rt" valign="bottom"><a href="#plt_296">296</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_297">Sword of the last Moorish King of Granada, commonly called “The Sword of Boabdil”</a></td><td class="rt" valign="bottom"><a href="#plt_297">297</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_298">The Surrender of Granada by Boabdil to Ferdinand and Isabella, January 2, 1492</a></td><td class="rt" valign="bottom"><a href="#plt_298">298</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_299">Gold Coin (obverse and reverse) of Mohammed I., the Founder of the Alhambra, who reigned 1232-1272 <small>A.D.</small></a></td><td class="rt" valign="bottom"><a href="#plt_299">299</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_300">Details and Inscriptions, and Arabian Capitals</a></td><td class="rt" valign="bottom"><a href="#plt_300">300</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_301">The Gothic Inscription set up in the Alhambra by the Count of Tendilla, to commemorate the Surrender of the Fortress in 1492</a></td><td class="rt" valign="bottom"><a href="#plt_301">301</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_302">Mosaic Pavement in the Queen’s Dressing-room (Tocador de la Reyna.)    Mosaic, from a Fragment in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_302">302</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_303">The House of Carbon</a></td><td class="rt" valign="bottom"><a href="#plt_303">303</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_304">The ancient Granary Market and House of Carbon</a></td><td class="rt" valign="bottom"><a href="#plt_304">304</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_305">Elevation of the Casa del Carbon, or House of Carbon, once known as the House of the Weathercock</a></td><td class="rt" valign="bottom"><a href="#plt_305">305</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_306">Courtyard of a Moorish House in the Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_306">306</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_307">Interior of an Arab House in the Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_307">307</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_308">The Proclamation of Boabdil. By Plácido Frances (National Exhibition of Beaux Arts, 1884)</a></td><td class="rt" valign="bottom"><a href="#plt_308">308</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_309">The Author in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_309">309</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_310">Cornices, Capitals, and Columns in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_310">310</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_311">Miscellaneous Ornament in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_311">311</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_312">The Fable of Jupiter and Leda in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_312">312</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_313">Bas-relief, now in the Museum of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_314">Arabian Sword</a></td><td class="rt" valign="bottom"><a href="#plt_314">314</a>
+<span class="pagenum"><a name="plt_xxxii" id="plt_xxxii">{xxxii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_315">Capitals from the Courts and Halls of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_315">315</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_316">Encaustic-tile Work in the Royal Room of Santo Domingo</a></td><td class="rt" valign="bottom"><a href="#plt_316">316</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_317">Various Mosaics from the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_317">317</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_318">Inscriptions in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_318">318</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_319">Plan of the Palace of Charles V. and of the Subterranean Vaults of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_319">319</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_320">General View of the Alhambra from the Homage Tower</a></td><td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_321">Ancient Cistern. Early Fourteenth Century</a></td><td class="rt" valign="bottom"><a href="#plt_321">321</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_322">The Alhambra (<i>Specially drawn for the Spanish Series</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_322">322</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_323">Part of Exterior of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_323">323</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_324">Elevation of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_324">324</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_325">Section of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_325">325</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_326">Fountain of the Emperor Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_326">326</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_327">View of the Alhambra from the Homage Tower</a></td><td class="rt" valign="bottom"><a href="#plt_327">327</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_328">Interior of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_328">328</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_329">Doorway of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_329">329</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_330">Bas-relief in the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_330">330</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_331">Porch of the Palace of Charles V. from the West</a></td><td class="rt" valign="bottom"><a href="#plt_331">331</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_332">Roman Court, Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_332">332</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_333">Ground Plan of the Generalife at Granada</a></td><td class="rt" valign="bottom"><a href="#plt_333">333</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_334">The Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_334">334</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_335">The Principal Court of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_335">335</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_336">The Court of the Fish-pond in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_336">336</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_337">Promenades and Gardens of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_337">337</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_338">The Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_338">338</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_339">Front View of the Portico of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_339">339</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_340">Transverse Section of the Royal Villa of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_340">340</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_341">Gallery in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_341">341</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_342">The Generalife. Gallery in the Acequia Court</a></td><td class="rt" valign="bottom"><a href="#plt_342">342</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_343">The Generalife.   Entrance to the Portrait Gallery</a></td><td class="rt" valign="bottom"><a href="#plt_343">343</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_344">Garden of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_344">344</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_345">Elevation of the Portico of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_345">345</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_346">The Acequia Court in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_346">346</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_347">A Corner of the Acequia Court in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_347">347</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_348">Cypress Court. A Corner in the Acequia Court</a></td><td class="rt" valign="bottom"><a href="#plt_348">348</a>
+<span class="pagenum"><a name="plt_xxxiii" id="plt_xxxiii">{xxxiii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_349">The Cypress of the Sultana in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_349">349</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_350">A Ceiling in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_350">350</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_351">The Generalife. The Acequia Court from the Main Entrance</a></td><td class="rt" valign="bottom"><a href="#plt_351">351</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_352">The Generalife.    The Acequia Court from the Interior</a></td><td class="rt" valign="bottom"><a href="#plt_352">352</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_353">Exterior View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_353">353</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_354">Entrance to the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_354">354</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_355">The Generalife. Court of the Sultana’s Cypress</a></td><td class="rt" valign="bottom"><a href="#plt_355">355</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_356">The Generalife. The Acequia Court from the Interior</a></td><td class="rt" valign="bottom"><a href="#plt_356">356</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_357">South Façade of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_357">357</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_358">Bas-relief in the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_358">358</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_359">Bas-relief in the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_359">359</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_360">Gate of the Granadas</a></td><td class="rt" valign="bottom"><a href="#plt_360">360</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_361">Promenades and Hotels of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_361">361</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_362">The Gate of Justice and Fountain of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_362">362</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_363">Environs of the Alhambra. Fountain of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_363">363</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_364">Gate of Justice. Principal Entrance to the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_364">364</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_365">Gate of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_365">365</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_366">Wine Gate. East Façade</a></td><td class="rt" valign="bottom"><a href="#plt_366">366</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_367">Environs of the Alhambra. Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_367">367</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_368">Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_368">368</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_369">General View of the Alhambra from the Silla del Moro</a></td><td class="rt" valign="bottom"><a href="#plt_369">369</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_370">General View of the Alhambra from the Gypsy Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_370">370</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_371">General View of the Alhambra from the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_371">371</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_372">View of Granada and the Alhambra from the Sacromonte</a></td><td class="rt" valign="bottom"><a href="#plt_372">372</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_373">General View of the Alhambra from San Nicolas</a></td><td class="rt" valign="bottom"><a href="#plt_373">373</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_374">The Watch Tower, the Cathedral, and Granada</a></td><td class="rt" valign="bottom"><a href="#plt_374">374</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_375">Villas on the Banks of the River Darro</a></td><td class="rt" valign="bottom"><a href="#plt_375">375</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_376">A View of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_376">376</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_377">Villas on the Banks of the River Darro</a></td><td class="rt" valign="bottom"><a href="#plt_377">377</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_378">The Watch Tower and Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_378">378</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_379">The Red Tower</a></td><td class="rt" valign="bottom"><a href="#plt_379">379</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_380">The Homage Tower and Gypsy Quarters: exterior of their Caves</a></td><td class="rt" valign="bottom"><a href="#plt_380">380</a>
+<span class="pagenum"><a name="plt_xxxiv" id="plt_xxxiv">{xxxiv}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_381">Carrera del Rio Darro</a></td><td class="rt" valign="bottom"><a href="#plt_381">381</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_382">The Gate of Elvira. The old Entrance to the Fortifications</a></td><td class="rt" valign="bottom"><a href="#plt_382">382</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_383">Washing Place in the Puerta del Sol</a></td><td class="rt" valign="bottom"><a href="#plt_383">383</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_384">Courtyard of an Arab House</a></td><td class="rt" valign="bottom"><a href="#plt_384">384</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_385">A Moorish Archway</a></td><td class="rt" valign="bottom"><a href="#plt_385">385</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_386">Interior of an old House in the Calle del Horno de Oro</a></td><td class="rt" valign="bottom"><a href="#plt_386">386</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_387">Interior of an old House in the Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_387">387</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_388">The Cathedral and General View</a></td><td class="rt" valign="bottom"><a href="#plt_388">388</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_389">General View of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_389">389</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_390">General View of the Exterior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_390">390</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_391">Entrance to the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_391">391</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_392">Exterior of the Royal Chapel of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_392">392</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_393">Detail of the Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_393">393</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_394">Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_394">394</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_395">Exterior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_395">395</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_396">Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_396">396</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_397">Exterior of the Cathedral. The Gate of Pardon</a></td><td class="rt" valign="bottom"><a href="#plt_397">397</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_398">Gothic Pinnacle on the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_398">398</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_399">The Cathedral. View from the Choir</a></td><td class="rt" valign="bottom"><a href="#plt_399">399</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_400">The   Cathedral. General View of the Chancel and High Altar</a></td><td class="rt" valign="bottom"><a href="#plt_400">400</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_401">Bas-relief in the Altar-piece of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_401">401</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_402">General View of the Chancel in the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_402">402</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_403">The Royal Chapel. Sepulchre of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_403">403</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_404">The Royal Chapel. Detail of the Sepulchre of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_404">404</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_405">The Royal Chapel. Sculpture of King Ferdinand the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_405">405</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_406">Sepulchre of Ferdinand</a></td><td class="rt" valign="bottom"><a href="#plt_406">406</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_407">Sepulchre of Isabella the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_407">407</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_408">Portal of the Church of San Juan de Dios</a></td><td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_409">Sepulchre of Alonso Caño in San Gerónimo</a></td><td class="rt" valign="bottom"><a href="#plt_409">409</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_410">Head of John the Baptist</a></td><td class="rt" valign="bottom"><a href="#plt_410">410</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_411">Head of John the Baptist</a></td><td class="rt" valign="bottom"><a href="#plt_411">411</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_412">Head of John the Baptist</a></td><td class="rt" valign="bottom"><a href="#plt_412">412</a>
+<span class="pagenum"><a name="plt_xxxv" id="plt_xxxv">{xxxv}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_413">Exterior of the Cartuja Monastery</a></td><td class="rt" valign="bottom"><a href="#plt_413">413</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_414">Sacristy in the Cartuja, Left Side</a></td><td class="rt" valign="bottom"><a href="#plt_414">414</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_415">Sacristy in the Cartuja, Right Side</a></td><td class="rt" valign="bottom"><a href="#plt_415">415</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_416">Cartuja. Sancta Sanctorum</a></td><td class="rt" valign="bottom"><a href="#plt_416">416</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_417">Cartuja. Detail of the Cupboards in the Sacristy</a></td><td class="rt" valign="bottom"><a href="#plt_417">417</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_418">Altars in the Cartuja. Pictures by Sanchez y Cotán, a Monk of the Order</a></td><td class="rt" valign="bottom"><a href="#plt_418">418</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_419">Cartuja. The Immaculate Conception. By Murillo</a></td><td class="rt" valign="bottom"><a href="#plt_419">419</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_420">Cartuja. The Virgin of the Rosary. By Murillo</a></td><td class="rt" valign="bottom"><a href="#plt_420">420</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_421">Cartuja. St. Joseph and the Child. Sculpture by Alonso Caño</a></td><td class="rt" valign="bottom"><a href="#plt_421">421</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_422">Cartuja. St. Mary Magdalene. Sculpture by Alonso Caño</a></td><td class="rt" valign="bottom"><a href="#plt_422">422</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_423">Cartuja. Horsemen hanging Martyrs. By Sanchez Cotán</a></td><td class="rt" valign="bottom"><a href="#plt_423">423</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_424">Cartuja. The Baptism of Our Lord. By Sanchez Cotán</a></td><td class="rt" valign="bottom"><a href="#plt_424">424</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_425">Cartuja. The Holy Family. By Sanchez Cotán</a></td><td class="rt" valign="bottom"><a href="#plt_425">425</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_426">The Crucifixion of Our Lord. By Morales</a></td><td class="rt" valign="bottom"><a href="#plt_426">426</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_427">The Conception of Our Lady. By Morales</a></td><td class="rt" valign="bottom"><a href="#plt_427">427</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_428">The Gypsy Quarters. Exterior of the Caves</a></td><td class="rt" valign="bottom"><a href="#plt_428">428</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_429">The Gypsy Quarters. An “At Home”</a></td><td class="rt" valign="bottom"><a href="#plt_429">429</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_430">Gypsy Dance in their Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_430">430</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_431">Gypsy Types at the Doors of their Caves</a></td><td class="rt" valign="bottom"><a href="#plt_431">431</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_432">Gypsy Dance in their Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_432">432</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_433">Gypsy Dancers and their Captain, J. Amaya</a></td><td class="rt" valign="bottom"><a href="#plt_433">433</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_434">Bridge of the Genil</a></td><td class="rt" valign="bottom"><a href="#plt_434">434</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_435">General View</a></td><td class="rt" valign="bottom"><a href="#plt_435">435</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_436">General View of the old Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_436">436</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_437">General View from the Watch Tower</a></td><td class="rt" valign="bottom"><a href="#plt_437">437</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_438">Old Arab Palace, now the Property of a Spanish Nobleman</a></td><td class="rt" valign="bottom"><a href="#plt_438">438</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_439">The old Town Hall</a></td><td class="rt" valign="bottom"><a href="#plt_439">439</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_440">The Royal Gate and Street of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_440">440</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_441">Monument to Columbus in the Paseo del Salon</a></td><td class="rt" valign="bottom"><a href="#plt_441">441</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_442">The Raw Silk Market</a></td><td class="rt" valign="bottom"><a href="#plt_442">442</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_443">The Raw Silk Market. Ancient Arab Silk Market</a></td><td class="rt" valign="bottom"><a href="#plt_443">443</a>
+<span class="pagenum"><a name="plt_xxxvi" id="plt_xxxvi">{xxxvi}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_444">Exterior of an old House, Cuesta del Pescado</a></td><td class="rt" valign="bottom"><a href="#plt_444">444</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_445">The Court of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_445">445</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_446">Carrera del Darro</a></td><td class="rt" valign="bottom"><a href="#plt_446">446</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_447">Market and Gypsy Fair in the Triunfo</a></td><td class="rt" valign="bottom"><a href="#plt_447">447</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_448">Calle de San Anton</a></td><td class="rt" valign="bottom"><a href="#plt_448">448</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_449">Antequeruela Quarter, Sierra Nevada, and the “Last Sigh of the Moor”</a></td><td class="rt" valign="bottom"><a href="#plt_449">449</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_450">Carrera de Genil and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_450">450</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_451">Plaza de Mariana Pineda, Arab House, and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_451">451</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_452">General View of the Alhambra and of the Sierra Nevada from St. Michael</a></td><td class="rt" valign="bottom"><a href="#plt_452">452</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_453">Huétor High Road and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_453">453</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_454">Villas on the Borders of the River Darro</a></td><td class="rt" valign="bottom"><a href="#plt_454">454</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_455">Defile of the Darro</a></td><td class="rt" valign="bottom"><a href="#plt_455">455</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_456">The Green Bridge and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_456">456</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_457">View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_457">457</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_458">General View of the Sierra Nevada and the River Genil</a></td><td class="rt" valign="bottom"><a href="#plt_458">458</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_459">Granada. (<i>Specially drawn for the Spanish Series</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_459">459</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_460">Arms of Granada</a></td><td class="rt" valign="bottom"><a href="#plt_460">460</a></td></tr>
+
+<tr><td valign="top"><a href="#page_89">Plan of Granada</a></td><td class="rt" valign="bottom"><a href="#page_89"><i>Page</i> 89</a></td></tr>
+
+</table>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h2><a name="GRANADA" id="GRANADA"></a><b>G R A N A D A</b><br />
+<small><a name="THE_CITY_OF_THE_MOOR" id="THE_CITY_OF_THE_MOOR"></a>THE CITY OF THE MOOR</small></h2>
+
+<p class="nind"><span class="smcap">Granada</span> is the creation of the Moors. Its history is all of them&mdash;the
+record of their glory and their fall. The Pomegranate, as its conqueror
+styled it, ripened only in the warm sunshine of Islam, and withered with
+its decline. Under the Christian, it fell from the rank of a splendid
+capital to a poor provincial town. Now it subsists merely as a great
+monument to a vanished race and a dead civilisation.</p>
+
+<p>With Granada before it became the centre of an independent kingdom, we
+need concern ourselves but little. Its real interest dates from the
+establishment of the Nasrite dynasty in the first half of the thirteenth
+century. It was the time when the great Almohade Empire was breaking up.
+Probably all Andalusia would have shared the fate of Cordova and
+Seville, and the conquests of the Catholic kings been anticipated by two
+centuries, had not a young man of Arjona, Ibn Al Ahmar by name,
+determined to fashion for himself a kingdom out of<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> the fragments of
+empire. With an ever-increasing following, he seized upon Jaen in 1232,
+and obtained possession of Granada itself in 1237. City after city
+opened its gates to him, including Malaga and Almeria, and in 1241 he
+was recognised as Lord and Sultan of all the territory between the
+Sierra Morena and the Pillars of Hercules, from Ronda to Baza.</p>
+
+<p>A great man, in every sense, was this founder of the Nasrite dynasty.
+His presence was fine and commanding, his manner bland and amiable, his
+courage worthy of the heroic age. For all his valour and prowess on the
+battlefield, no monarch prized peace more highly. He proved himself a
+true national hero and the father of his people. He fostered industry
+and agriculture, was a patron, like all his race, of arts and letters,
+and encouraged immigration by every means in his power. A far-sighted
+statesman, he perceived that a state so limited in area as his own could
+only hope to exist by virtue of an unusual density of population, and he
+offered every inducement to Muslims from the provinces conquered by the
+Christians to settle within his dominions. Granada was the last hope of
+Islam in Europe, and he resorted to all possible means to safeguard it.
+He concluded alliances with the rulers of Morocco, Tlemsen, and Tunis,
+and even of distant Baghdad. Above all, he neglected no means<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> of
+humouring and conciliating the irresistible Castilian. He negotiated an
+alliance with Fernando III., binding himself to attend the Cortes (a
+curious stipulation for a Mohammedan) and to attend the king in his wars
+with 1500 lances. This latter part of the bargain he was speedily called
+upon to fulfil, and against his own co-religionists of Seville. It
+seemed an unnatural warfare, but, to palliate the iniquity, let it be
+said that Ibn Al Ahmar probably looked upon the Almohade citizens of
+Ishbiliah as heretics. At all events, whether his conscience approved
+his action or not, he contributed in no small measure to Fernando’s
+success, and was hailed enthusiastically as a conqueror upon his return
+to Granada. That the assistance he rendered was not looked upon as
+altogether voluntary by the people of Seville is shown by the fact that
+thousands of them migrated to his dominions and settled there.</p>
+
+<p>Ibn Al Ahmar dreaded the might of Castile. The only hope for the
+Mohammedans of Spain lay, he knew, in rest and consolidation. Careful
+not to give offence to his dreaded neighbour, he courteously received
+the revolted and exiled Infante Don Enrique when he sought refuge at
+Granada, but sent him on to Tunis with letters recommending him to the
+Sultan of that country. All his diplomacy, however, could not avert a<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>
+war with Alfonso, and to add to his troubles, the Walis of Guadix,
+Malaga, and Gomares revolted against his authority. But an insurrection
+soon after broke out in Castile, and Alfonso was compelled to leave the
+Walis to fight their own battles. Ibn Al Ahmar, an old man of eighty
+years, wearily girded on his armour for another of the campaigns he had
+learned to hate. But his time for rest had come at last. A few miles
+beyond the gates of his capital, his charger threw him, as he rode at
+the head of his army. He breathed his last at sundown, by the roadside,
+surrounded by his weeping warriors. It was a dark night for Granada.</p>
+
+<p>Al Ahmar’s son, under the style of Mohammed II., succeeded him at the
+age of thirty-eight years, on January 21, 1273. Arabic historians have
+lavished their encomiums upon him, as indeed upon most of his dynasty.
+He is described as a warrior and a statesman, as a man of letters and a
+poet of considerable ability. During his reign of twenty-nine years, he
+was almost continuously at war. Soon after his accession he crushed the
+rebel Walis at Antequera, and then paid a visit to Alfonso X. at
+Seville, with a view to detaching the Castilian king from his alliance
+with the defeated insurgents. In this he was successful. Queen Violante,
+however, at the conclusion of his visit, asked of him a boon,<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> which,
+according to the custom of the times, as a true knight, he was bound to
+grant. He then discovered, too late, that he had been tricked into
+granting a year’s truce to the Walis. Smouldering with rage, he returned
+to Granada and spent the year in maturing plans for the complete
+overthrow of his enemies. This he effected with the aid of the Sultan
+Yusuf of Morocco, whose army of 100,000 men landed at Tarifa in 1275.
+The Africans, as on previous occasions in Moorish history, proved
+dangerous allies. Mohammed found himself embroiled in a long and
+absolutely unprofitable war with Castile, and had the mortification of
+seeing the Africans possess themselves of Algeciras, Tarifa, and Malaga.
+He recovered possession of the latter town by bribing the governor to
+exchange it for the town of Salobreña, to be held as a personal
+acquisition; and rid himself at last of the troublesome Africans by
+means of an alliance with Sancho of Castile. But in 1302 we find him
+again at war with the Christians, fighting against whom he died.</p>
+
+<p>Mohammed III. was the worthy son of his father, and is specially
+commended for his indefatigable energy. He took a short way with
+traitors, even for those rough times. Ibn Nasr, the governor of Guadix,
+having been removed from his office by the Sultan, exerted himself<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> to
+form a faction in his favour. Mohammed III., hearing of this, summoned
+him to court, and had him slain there and then in his presence. A more
+honourable exploit was his conquest of the town of Ceuta, opposite
+Gibraltar, in the year 1306. With the rich spoils of the foray, he built
+a magnificent mosque at Granada, resplendent with gold and silver,
+jasper and marble. His success perhaps excited the jealousy of the
+Catholic powers. Attacked on either side by the Kings of Castile and
+Aragon, he was forced to conclude a humiliating peace. On his return to
+his capital he was seized in the Alhambra itself by a band of
+conspirators and forced to abdicate in favour of his brother, Muley
+Nasr. The new Sultan began his reign with some military successes
+(1309). He forced Jaime of Aragon to raise the siege of Almeria; but as
+a set-off, he had to deal with conspiracies and rebellions at home, the
+most formidable of these being headed by his nephew, Abu-l-Walid. In the
+midst of these complications a curious incident occurred. Nasr was
+stricken with apoplexy and left for dead. His deposed brother, Mohammed
+III., was then released by some courtiers and brought to Granada, only
+to find that the usurper had recovered his health and his crown. The
+luckless Mohammed did not long survive his partisans’ mistake. But
+retribution speedily<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> overtook his brother. He was forced to yield to
+Abu-l-Walid, and was glad to be allowed to retire to Guadix, the
+sovereignty of which was allotted to him. Usurper though he was, Nasr
+conducted himself with the dignity of a philosopher. His rival’s triumph
+chagrined him not at all, and when invited by Pedro I. to join him in an
+attack on Granada, he patriotically declined. He was a brave man, who
+did not complain at meeting the fate to which he had subjected others.</p>
+
+<p>The new monarch of Granada, Abu-l-Walid Ismail, was a fighter and a
+fanatic. He was fond of saying that he believed only in God and his good
+sword. His faith in the latter weapon was justified. He annihilated a
+Spanish army which had approached Granada, among the slain being the
+Infantes, Don Juan and Don Pedro; and carrying his victorious arms
+eastwards, wrested Baza and Martos from the enemies of his race. But
+others also reposed their faith in the sword. Like another Agamemnon, he
+appropriated a beautiful captive, the prize of the young Mohammed of
+Algeciras. Three days after his triumphal entry into his capital he fell
+at the gates of the Alhambra, a victim to the poniard of the man he had
+injured. Perceiving his sovereign to be at the point of death and
+resolving to avert the horrors of a disputed succession, the Wizir
+summoned the chief men of Granada to<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> the palace, and announced that
+Abu-l-Walid was recovering from his wounds. The royal order was that all
+present should take the oath to the boy-prince, Muley Mohammed Ben
+Ismail, as successor to the kingdom. When this command had been obeyed,
+the wily Wizir announced the death of Abu-l-Walid and the accession of
+Mohammed IV. This was in the year 1325.</p>
+
+<p>When he had freed himself from the control of an unpopular regent, the
+young Sultan displayed qualities of heart and mind in no way inferior to
+those of his progenitors. It must be admitted that Arab historians have
+been somewhat too partial to this line of kings, for there is hardly one
+who is not described more or less explicitly as a paragon of all the
+virtues. Mohammed IV. had to fight hard to hold his own against the
+Spaniards on one side and the Africans on the other. He took Gibraltar,
+and lost it again to Abu-l-Hasan of Fez. But the African king was soon
+after obliged to ask his help to hold the fortress against the
+Christians. Mohammed generously responded to the appeal, fell like a
+thunderbolt upon the Spanish camp, and raised the siege. He was ill
+repaid. In August 1333, he was imprudent enough to reproach his African
+allies with their inability to hold the fortress; and a day or two
+later, having sent his army<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> home, made an excursion to the summit of
+the Rock. He was followed by some among those he had reproached, and
+quickly despatched by their poniards. His body, naked and mangled, was
+found at the foot of the Rock, and conveyed to Malaga. No attempt seems
+to have been made to identify or to punish his murderers.</p>
+
+<p>The ill-fated Mohammed was succeeded by his brother, Yusuf I.,
+Abu-l-Hejaj. While possessed, of course, of the virtues which seem to
+have been inherent in the Nasrite dynasty, this prince was exceptional
+in being an ardent, almost a passionate, lover of peace. He believed,
+says Don Francisco Pi Margall, that it was more glorious to remedy evils
+than to attempt perilous enterprises. Assisted by his able Wizir,
+Redwân, he revised the laws and purified the administration of justice.
+He built a magnificent palace at Malaga, and the great aljama or mosque
+at Granada, of which no trace remains. Abandoning for once his settled
+policy, he joined the Africans in a war against Castile. He was badly
+beaten, and was glad to negotiate a truce of ten years. At the end of
+that time, Alfonso of Castile died, and the Sultan of Granada was
+stabbed to death by a madman, while at his prayers in the mosque, in the
+year 1354.</p>
+
+<p>Mohammed V. was as virtuous and as unfortunate as his father. He had
+reigned but four<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> years when he was attacked in his own palace by the
+partisans of his half-brother, Ismail. Narrowly escaping death, he fled
+to his harem, and in the disguise of a slave eluded his pursuers and
+made his way to Guadix. Ismail II. ran a brief and inglorious career,
+and was dethroned and slain (1360) by the “Red King,” Abu Saïd.
+Meantime, Pedro I. of Castile espoused the cause of the lawful sultan
+and invaded the territory of Granada. But the magnanimous Moor would not
+consent to remount the throne at the cost of his people’s blood. Pedro
+accordingly withdrew, but freed Mohammed from his enemies by murdering
+Abu Saïd when the latter incautiously paid a visit to Seville. Mohammed
+was reinstated on his throne, and mindful of the services rendered him
+by Pedro, advanced to his support with a Grenadine army against Enrique
+de Trastamara. The tragedy of Montiel made a continuance of the struggle
+useless, and the Moorish sultan devoted the remainder of his reign to
+improving the condition of his subjects. He founded charitable
+institutions and asylums, and raised Granada to a high pitch of
+prosperity. The city, according to the contemporary writer, El Khattib,
+became the metropolis of the Mediterranean, the emporium of commerce,
+and the common fatherland of all nations. Under Mohammed V., the kingdom
+may be considered<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> to have reached its zenith. Thence to its nadir we
+count but a century of years.</p>
+
+<p>Yusuf II., who succeeded his father in 1391, was so averse to war that
+his subjects suspected him of Christian sympathies. His son rose against
+him, and the pacific monarch was disposed to abdicate rather than draw
+the sword. The exhortations of the Moroccan ambassador induced him to
+take a manlier course, and putting himself at the head of the army
+lately arrayed against him, he ravaged Murcia with fire and sword. It
+was against this peace-loving sultan that Don Martin de la Barbuda, the
+Quixotic Master of Calatrava, directed his wild expedition&mdash;defeated, of
+course, and emphatically disavowed by Enrique III. of Castile. Yusuf’s
+younger son and successor, Mohammed VII.,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> was a prince of a very
+different stamp. Accompanied by only twenty-five horsemen, he penetrated
+to Toledo, and negotiated in the heart of Castile with Enrique III. The
+peace thus concluded was soon interrupted, and Mohammed was quickly
+waging war throughout the length and breadth of Andalusia. The war
+continued with varying fortunes, and was carried on, as was usual in
+those days, by a series of forays, neither side<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> making any determined
+effort to take the other’s capital or to secure his conquests. On
+feeling his end approaching, the warlike Sultan bethought him of his
+elder brother, Yusuf, whom he had confined in the castle of Salobreña.
+Fearing that the captive might now supplant his own son, Mohammed sent a
+messenger to command his execution. Yusuf was playing chess with the
+governor of the castle when the fatal mandate arrived. He asked leave of
+the emissary to finish the game, and before he had made the final move,
+the news arrived of the death of Mohammed and of his proclamation as
+Sultan of Granada. Yusuf showed himself as calm and unmoved at his
+accession to the throne as when he had stood upon the threshold of
+death.</p>
+
+<p>As peaceably disposed as his father, Yusuf III. had to withstand some of
+the most determined assaults upon his doomed kingdom. In his reign took
+place the celebrated siege of Antequera by the Castilians, the survivors
+of which founded the suburb of Antequeruela adjacent to Granada. Yusuf
+ultimately found peace and a valuable ally as the outcome of a strange
+story of fraternal animosity. The people of Gibraltar revolted against
+Granada and proclaimed themselves the subjects of Fez. The Sultan of
+that realm sent his hated brother, Abu Saïd, to take possession of the
+town, and treating him as David<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> did Uriah, left him at the mercy of the
+enemy. Yusuf, however, treated the captured prince with generosity, and
+showed him a letter which he shortly after received from the Sultan of
+Fez, requesting that he might be poisoned. Thirsting for vengeance, Abu
+Saïd procured arms and soldiers at Granada, and, invading Morocco, drove
+his perfidious brother from the throne. Thereafter he was the sworn ally
+of the Sultan of Granada, whom Castile and Aragon no longer ventured to
+trouble. Yusuf III. passed away in 1417.</p>
+
+<p>The history of Granada is henceforward one of almost continuous
+revolution and tumult. Mohammed VIII. was driven into exile by a
+namesake reckoned as the ninth of his name, and then restored by a
+counter-revolution. A Castilian army ravaged the Vega up to the walls of
+the capital. Granada itself would have fallen, had not Juan II. and the
+great Constable, Alvaro de Luna, been recalled to Castile by the
+disorders which resulted in the latter’s overthrow. An earthquake
+desolated the distracted kingdom; and we may suppose that Mohammed VIII.
+was not altogether sorry when he abandoned his throne to a pretender and
+fled to Malaga.</p>
+
+<p>The new sultan, Yusuf IV., held his throne as a fief of Castile, the
+support of which he had to purchase with humiliating concessions. He<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>
+anticipated inevitable assassination by dying after sixteen months of
+authority; and for the third time, Mohammed VIII. was proclaimed at
+Granada (1432). Hostilities with Castile were at once renewed. This time
+the fortune of war was with the Moors, who routed their opponents at
+Illora, Archidona, and Castril. But Mohammed VIII.’s star was never long
+in the ascendant. He quarrelled with the powerful family of the
+Abencerrages; and, deprived of their support, was finally expelled from
+his kingdom, by his kinsman, Aben Osmin.<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> The usurper was victorious
+over the Christians and took several strongholds, but his army suffered
+at last a bloody defeat at Alporchones. This reverse seems to have
+maddened Osmin, who henceforward conducted himself as a tyrant of the
+old Roman type. Revolutions had now become as frequent in Granada as in
+some South American states. The usurper ran his brief career, and was
+then forced to make room for Mohammed VIII.’s cousin Saïd. Granada was
+all for peace. Tribute was paid to Enrique IV. of Castile, Christian
+captives released&mdash;all in vain. The intermittent warfare went on as
+before. Jaen, Archidona, Gibraltar, were lost, despite the desperate
+valour of the Prince, Muley Hassan, and of the Chieftain, Ibrahim, who,
+on being<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> vanquished, plunged on horseback into the depths of a ravine.
+At last, however, the distracted Ibn Ismail obtained peace for his
+wretched country by a personal interview with Enrique, outside the walls
+of Granada. He devoted the remainder of his reign to the encouragement
+of commerce, industry, and agriculture in his dominions&mdash;labour that did
+not benefit even those who were to succeed him; and died at Almeria in
+the year 1465. The knell of the Moorish Empire in Europe was sounded
+over his bier.</p>
+
+<p>The reigns of Ali Abu-l-Hassan, Mohammed XI. (Boabdil), and Mohammed
+XII. (Az-Zaghal) covered the years 1465-1492, during which the downfall
+and extinction of the kingdom were accomplished. The history of these
+events has already filled many bulky tomes, and has been made familiar
+to English readers by the works of Prescott. Even our brief survey,
+however, cannot be concluded without a summary of the last chapter of
+the story of Granada.</p>
+
+<p>The character of Muley Ali Abu-l-Hassan was the reverse of his
+predecessor’s. He was arrogant, impetuous, and warlike, a fanatical
+hater of the Christians, and a zealous Muslim. In the first years of his
+reign he gained some successes over the feeble Enrique IV., and proved
+himself strong enough to quell a revolt at Malaga. But he let slip the
+opportunity of attacking the new<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> sovereigns of Spain, Ferdinand and
+Isabel, when they were engaged in war with the partisans of “La
+Beltraneja,” nor did he make any attempt to effect an alliance with
+their numerous enemies. State-craft does not appear to have been
+possessed to any great extent by the descendants of Al Ahmar. In 1476,
+Abu-l-Hassan condescended to sue for a renewal of the alliance with the
+Queen of Castile; but when Ferdinand of Aragon made the payment of the
+tribute stipulated by Ibn Ismail a condition of the treaty, the Moor’s
+proud nature revolted. “Return to your sovereigns,” he said to the
+Spanish ambassadors, “and tell them that the sultans who paid tribute to
+the Christians are dead; that here we manufacture only iron spear-heads
+for our enemies.” These words sealed the fate of the Moors in Spain,
+though the ruler who uttered them probably thought them merely the
+prelude to just such a frontier war as had raged intermittently for so
+many years.</p>
+
+<p>The first act in the long-drawn-out drama was the capture of Zahara by
+the troops of Granada, in 1481&mdash;provoked by the predatory incursions of
+the Marquis of Cadiz. The Christian garrison was surprised during a
+furious tempest, and put to the sword. The rest of the inhabitants were
+carried off in captivity to Granada. Abu-l-Hassan, inflated with pride,
+returned to his<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> capital. There were popular rejoicings, but the wiser
+Moors shook their heads and predicted that the ruins of Zahara would
+fall upon their own city.</p>
+
+<p>The fiery chivalry of Andalusia were not slow to retaliate. Two months
+after the capture of Zahara, the more important Grenadine stronghold of
+Alhama was taken by storm by the forces of the Marquis of Cadiz. The
+news produced the utmost consternation in Granada. Abu-l-Hassan at once
+set out with 53,000 men, and invested the place. Ferdinand the Catholic,
+who had now conceived the idea of reducing the whole kingdom of Granada,
+hurried to its relief; but he had only reached Lucena when tidings
+arrived of the raising of the siege by the Marquis’s hereditary foe, the
+Duke of Medina Sidonia. Abu-l-Hassan returned to the attack a few weeks
+later, and Ferdinand resumed his advance, before which the Moors
+retired. The Catholic sovereigns made their triumphal entry into Alhama
+on May 14, 1482.</p>
+
+<p>Great preparations were made throughout Castile and Aragon for the
+prosecution of the war, but the army actually assembled before Loja on
+July 1&mdash;16,000 men&mdash;fell far short of Ferdinand’s requirements and
+expectations. The town was ably defended by one of the bravest Moorish
+chieftains, Ali Atar, who repulsed the<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> Christians with severe loss. The
+King of Aragon narrowly escaped with his life, and was compelled to beat
+a retreat. Abu-l-Hassan swept the country as far as the Rio Frio.</p>
+
+<p>Such a success, if it had been followed up, might have turned the scale
+in favour of the Moors. But at Granada, treason always followed closely
+on the heels of victory. Years before, a beautiful Christian captive,
+Doña Isabel de Solis, daughter of the Governor of Martos, had been added
+to the Sultan’s harem. Under the name of Zoraya, in the course of time,
+she bore him a son, Abu Abdullah, and rose to the rank of favourite
+Sultana.<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> Now, jealous, it is said, of a Greek slave, or perhaps
+antagonised by the first Sultana, Ayesha, she fomented a conspiracy
+against her aged lord, and was imprisoned with her son in the Alhambra.
+Thence they contrived to escape, and, exciting the populace in their
+favour, obliged Abu-l-Hassan to seek refuge at Malaga. Abu Abdullah,
+better known as Boabdil, or el Chico (the little), reigned in his stead,
+but Baza, Guadix, and other eastern towns remained faithful to their old
+allegiance.</p>
+
+<p>These dissensions among the Moors, though ultimately benefiting the
+Spaniards, contributed<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> indirectly to one of the most serious disasters
+that befell the latter during the campaign. For an expedition against
+Malaga, headed by the Marquis of Cadiz and the Grandmaster of Santiago,
+while threading its way through the passes of the Ajarquia, was attacked
+by the lieutenants of the old lion, Abu-l-Hassan, and cut to pieces.
+Eight hundred Spaniards were left dead on the field. Boabdil, emulous of
+the glory his father had acquired, marched out of Granada with 9700 men,
+and gave battle to the enemy under the Count of Cabra, near Lucena. The
+Moors were totally defeated, their bravest general, Ali Atar, was slain,
+and Boabdil himself captured by a private soldier, named Martin Hurtado.</p>
+
+<p>Had this unlucky prince been left in the hands of his enemies, the war
+might have had a different result, but his mother and followers at once
+made proposals for his release. This was finally effected by a most
+dishonourable treaty. Boabdil was accorded a two years’ truce, covering
+all places that acknowledged his authority, and in return bound himself,
+not only to pay a tribute of twelve thousand golden ducats, but to
+assist with supplies the Spanish troops passing through his dominions to
+attack his own father. Having thus exchanged his honour for his liberty,
+the miserable Sultan returned to his capital, to find that the old King
+had possessed himself of the Alhambra.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> A collision between the two
+factions deluged the streets of Granada with blood. The alfakis and
+ancients at length arranged an armistice, and Boabdil was suffered to
+retire to Almeria, which was assigned to him as capital and residence.</p>
+
+<p>For the next four years, the Catholic sovereigns abstained from any
+important military demonstration, contenting themselves with ravaging
+the wretched country and harrying its frontiers with incessant forays
+and marauding expeditions. Meanwhile, a strong man appeared on the scene
+in the person of Abu-l-Hassan’s brother, Abdullah Az-Zaghal. Determined
+to put an end to the divisions which, more than the prowess of the
+Spaniards, were bringing about the ruin of his country, this prince
+swept down upon Almeria, slew the governor, took prisoner Zoraya, but
+failed, alas! to secure the person of Boabdil, who fled to Cordova and
+placed himself under Ferdinand’s protection. Not long after,
+Abu-l-Hassan, aged and worn out, abdicated in favour of his warlike
+brother, and died at Mondujar. This event strengthened Boabdil’s claims
+upon the tottering throne; and he entered into a compact with his uncle,
+whereby both were to reign in Granada, the one in the Albaicin, the
+other in the Alhambra. Anxious to redeem his reputation, the newly
+restored monarch attacked the Christians near Loja with vastly inferior
+forces. He<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> was soundly beaten and forced to take refuge in the Alcazar
+of Loja, whence he was only allowed to emerge on renewing the
+humiliating treaty he had concluded at Cordova. He was not, however,
+disposed to yield the crown to his rival, and returning to Granada,
+surprised and seized the Alcazaba. One of the most desperate conflicts
+recorded in the history of the city then occurred between the partisans
+of the rival sultans. Further bloodshed was at last averted by the
+intervention of ambassadors sent by Ferdinand. The old dual arrangement
+seems to have been temporarily resumed. Meanwhile, Ferdinand and Isabel
+once more took the field, and, in 1487, they invested and captured
+Velez-Malaga and the important city of Malaga, notwithstanding
+Az-Zaghal’s efforts to relieve both places. The brave Sultan now
+abandoned the capital to his nephew, and established his headquarters at
+Almeria. He succeeded throughout the year 1488, in repelling an invasion
+of his province; but in the following year, after the fall of the strong
+city of Baza, he bowed, as he himself expressed it, to the will of
+Allah, and surrendered all the places in his possession, including
+Almeria and Guadix, to the Catholic sovereigns. Mohammed XIII., as he is
+styled by Moorish historians, retired to Algeria, where he died, years
+afterwards, in indigence and obscurity.<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p>
+
+<p>There remained now, of all the Moorish dominions in Europe, but the
+single city of Granada, of which Mohammed XII., Boabdil, was at last
+undisputed sovereign. He formed the manly resolution to sell his
+hard-won crown as dearly as possible. He sallied from Granada, took
+Alhendin and Marchena by assault, and laid waste the country in
+possession of the Christians. Summoned by Ferdinand and Isabel to
+surrender the city in accordance with an alleged treaty, he replied, and
+probably with truth, that his proud and exasperated subjects would not
+permit him to do so. The population of Granada was swollen by refugees
+from all parts of the kingdom to thrice its normal figure. The Spanish
+king perceived that the surest method to reduce it was by blockade. With
+20,000 men, including some of the first chivalry of all Europe, he
+entered the Vega, and built the town of Santa Fé, almost at the gates of
+the threatened city. This permanent establishment of the Infidels on
+their native soil plunged the Moors into profound gloom. No ray of hope
+remained to the unfortunate Boabdil. The city endured the horrors of a
+famine. The Spanish fleet precluded all hope of supplies from Africa,
+towards which country the wretched people still turned in expectation of
+help. The negotiations for the capitulation which <span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>the Sultan most
+reluctantly entered upon in October 1491, had to be conducted, through
+fear of the populace, with profound secrecy. Indeed, at the last moment,
+Boabdil, in danger of his life, besought Ferdinand to accelerate his
+entrance into the city. On January 2, 1492, accordingly, the Moorish
+king, attended by fifty horsemen, surrendered the keys to the Catholic
+sovereigns on the banks of the Genil, passing on to the domain allotted
+him by the conquerors in the rocky Alpujarras. The story of his stopping
+to gaze for the last time on his former kingdom, and of the rebuke
+administered to him by his mother, is well known. We are not told
+whether his eye caught the gleam of the great silver cross hoisted over
+the Alhambra by Cardinal Mendoza by way of signal to the Spanish host
+that the occupation of Granada was completed and that the dominion of
+Islam in Spain was for ever at an end.</p>
+
+<p>It had endured seven hundred and eighty-one years&mdash;a period only sixty
+years short of that which has elapsed since the Norman Conquest of
+England. More remarkable still, the Sultanate of Granada had survived
+the virtual break-up of the Saracen empire by over two centuries. When
+we consider its limited area, its isolated position, the might and the
+inveterate hostility of the neighbouring states, and the attacks to
+which it was unceasingly subjected, we cannot<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> but feel the liveliest
+admiration for the valour and sagacity of its rulers and the
+stout-heartedness of its people. Had not the Court been too often the
+theatre of contending factions, had not those factions turned their
+swords against each other, the Sultanate of Granada might have outworn
+Spain’s military and national vigour, and have endured to our own day as
+a western Turkey. For the spirit of Tarik, of Abdurrahman, and of
+Almansûr was not altogether dead, even in the brave but ill-starred
+sovereign to whom alone historians ascribe the downfall of the kingdom,
+and whom they, strangely enough, accuse of effeminacy and weakness. The
+Moors of Granada knew how to fight a losing fight; in gambler’s
+parlance, when they had lost the tricks, they struggled to win the
+honours. They proved themselves worthy of their ancestors; and the
+finest, as it was also the latest, monument of the Mohammedan dominion
+in Spain is Granada the noble and the memorable.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
+
+<h3><a name="THE_ALHAMBRA" id="THE_ALHAMBRA"></a>THE ALHAMBRA</h3>
+
+<p class="nind"><span class="smcap">The</span> Alhambra, or Red Palace, the Acropolis of Granada, is the finest
+secular monument with which the Muslims have endowed Europe. It belongs
+to the last period of Spanish-Arabic art, when the seed of Mohammedan
+ideas and culture had long since taken deep root in the soil and
+produced a style which might more properly be called Andalusian than
+Moorish. If the Muslims left a deep impression upon Spanish thought and
+art, it must not be supposed that they altogether escaped the influence
+of their Christian neighbours. During the last two centuries of their
+occupation the rigid puritanism of their creed was greatly relaxed,
+especially as regarded art&mdash;always the reflection of the customs and
+spirit of a people. The wave of the Renaissance did not leave untouched
+the shrunken Moorish empire, and if Castilian kings did not hesitate to
+employ Muslim artisans in the construction of their cathedrals, the
+Sultans of Granada did not disdain the advice of Christian artists in
+the embellishment of their palaces. The Alhambra remains a thoroughly
+Moham<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span>medan monument, but one which symbolises a phase of Mohammedan
+culture and institutions almost peculiar to one country and epoch.
+Nowhere else and never since has Islam reached such a pitch of
+refinement. The Alhambra stands as the high-water mark of its art and
+civilisation.</p>
+
+<p>There will never be produced a new Alhambra, any more than a new
+Parthenon or new Pyramids; for these great buildings were the
+expressions of ideas and aspirations peculiar to societies which have
+long ago perished. Thus, the Red Palace of Granada is not interesting
+merely as a Mohammedan edifice left isolated in the far west of Europe,
+but as the monument of a people and a civilisation long dead and gone. A
+sadness, too, attaches to it, proceeding from the memory of the violent
+extinction of that people with a mission unfulfilled&mdash;fraught, as it
+seems to have been, with so much of light and beauty to the Christian
+and the Muslim worlds.</p>
+
+<p>The Sierra Nevada thrusts forward a spur which overlooks Granada on the
+south-east, and is divided by two clefts or barrancos into three
+eminences. The easternmost of these is crowned by the Generalife, the
+westernmost by the ancient fortifications known as the Torres Bermejas
+or Vermilion Towers. The hill between the two&mdash;in shape aptly compared
+by Ford to a grand<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> piano&mdash;is that on which the various buildings,
+collectively styled the Alhambra, are reared. Here there existed a
+settlement in remote Celtiberian days; and the later city of Illiberis
+or Elvira stood here, and perhaps extended to the Torres Bermejas. When
+the Moors came they erected a fortress&mdash;the Alcazaba&mdash;on the point of
+the Alhambra hill, overlooking the Vermilion Towers. To this they gave
+the name of <i>Alhamra</i>, “the red,” as Riaño thinks, to distinguish it
+from the Alcazaba in the Albaicin quarter, or perhaps from some
+confusion of the new building with the old. The builder, according to Al
+Khattíb, was one Sawar Alcaysi, who lived in the second half of the
+ninth century; though Contreras says it was known as the Tower of Ibn
+Jaffir, and Ford names Habus Ibn Makesen as the founder. At all events,
+the structure dated from the earliest period of the Arabic domination,
+and Al Ahmar found here, on taking possession of Granada, a small town
+girdled with walls and defended by a citadel.</p>
+
+<p>Al Khattíb refers to the Citadel of Granada in these terms: “The
+southern part of the city is commanded by the suburb of the Alhambra or
+Medina Alhamra, the court of the sultanate, crowning it with its
+turrets, its lofty towers, its strong bastions, its magnificent Alcazar,
+and other sumptuous edifices, which by their splendour<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> ravish the eye
+and the soul. There is, too, such an abundance of waters that,
+overflowing in torrents from the tanks and reservoirs, they form on the
+declivity streams and cascades, whose sonorous murmurs are heard afar
+on. At the foot of the walls are spacious gardens, the domain of the
+Sultan, and leafy groves, through the dense greenery of which the white
+battlements gleam like stars. There is, in short, around the circuit of
+the walls, no spot that is not planted with gardens and orchards.” The
+scene has not greatly changed since the Arab wrote. Gurgling brooks
+still run down the slopes of the Alhambra Hill, and nightingales sing in
+the thick woods of elm.</p>
+
+<p>The Alcazaba, being the oldest part of the palace-fortress, should be
+studied first. It is entered by the Torre and Casa de las Armas, through
+a horseshoe arch in red brick, with fine azulejos or glazed tiles. To
+the left is the Torre de Homenage, with which war and time have not
+dealt too gently. It contains, it is interesting to note, a Roman votive
+altar, embedded by the Moorish builders in the masonry, and inscribed by
+“the grateful Valerius to his most indulgent wife, Cornelia.” At the
+opposite extremity of the Alcazaba is the Torre de la Vela, or Watch
+Tower. It is in two storeys, communicating by a dark and narrow
+staircase, with loopholes<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> in the wall.<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> In this tower is hung a
+famous bell, to be heard, it is said, at Loja, thirty miles away. It is
+rung on the anniversary of the Conquest of Granada, on which day it is
+the custom, according to local superstition, for damsels, desirous of
+husbands, to strike it with all their strength. On the summit of this
+tower the cross was first planted by <i>el tercer rey</i>, Cardinal Mendoza.
+The view from the platform, of city and snow-clad Sierra, luxuriant
+Vega, and white-walled towns and villages, is as extensive as it is
+beautiful. At the foot of the Torre de la Vela extends the place of
+arms, defended by two towers, now styled de los Hidalgos and de la
+Polvora, and formerly known as the Paniagua and Cristóbal del
+Salto&mdash;names suggesting legends now forgotten.</p>
+
+<p>An ancient document at Simancas names among the towers connecting the
+Alcazaba with the rest of the fortress, the Torre del Adarguero, “the
+Tower in which dwelleth the servant of Doctor Ortiz,” the Torre de
+Alquiza, the Torre de Hontiveros (now the Torre de las Gallinas), and
+the Tower and Room of Machuca. Of these remains exist, but of another
+tower, referred to as the Torre de la Tahona, no trace remains.</p>
+
+<p>The Alcazaba, according to the most recent researches, was separated
+from the site of the<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> palace by a ravine where, after the Conquest,
+cisterns were constructed by order of the Conde de Tendilla and over
+which the existing Plaza de los Algibes was formed. These works appear
+to have necessitated the demolition of a wall which ran across from the
+Torre de las Gallinas on the north to the beautiful Puerta del Vino on
+the south. This gateway is now quite isolated from the wall of
+circumvallation. Over the horseshoe arch is an inscription in stucco, of
+the usual Moorish character, invoking the Divine protection for the
+builder, Sultan Mohammed V. It appears to commemorate some striking
+victory. Over the arch again is a fine double window or ajimez. On the
+keystone is seen the key, so often figuring as a symbol in all parts of
+the Alhambra, with a G in Kufic characters&mdash;perhaps the initial letter
+of the city. The interior façade has a large horseshoe arch and the
+twin-windows above. The Puerta del Vino was probably the entrance to the
+courts and gardens of the palace.</p>
+
+<p>Having crossed the Plaza de los Algibes, we leave behind us the early
+Moorish works, and approach the buildings which owe their foundation to
+the Nasrite or Grenadine dynasty. The story which credits Al Ahmar
+(Mohammed I.) with the creation of the Red Palace in the middle of the
+thirteenth century appears to<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> be well-founded, for when the Alhambra is
+referred to as existing in earlier times, it is undoubtedly the Alcazaba
+that is meant. To the same hands may be safely attributed the great
+outer wall of the Alhambra which girdles palace and fortress, following
+the inequalities of the hill’s contour. Al Ahmar has left his device,
+<i>Wa ha ghalib ila Allah</i> (There is no conqueror but God), in many parts
+of the building. These words were uttered by him in mournful deprecation
+of the acclamations of his subjects on his return from assisting the
+Christians in the Conquest of Seville. During the two and a half
+centuries of the Nasrite rule, the palace underwent many radical
+transformations and renovations, so that it is difficult to distinguish
+between the works of the various sultans. Ford infers, rightly as it
+seems to us, from the frequent repetition of their names upon the walls,
+that Yusuf I. and Mohammed V. had the largest share in the embellishment
+and restoration of the edifice. Since the Reconquest many changes and
+additions have been made&mdash;notably the Palace of Charles V., to which
+detailed reference will be made later.</p>
+
+<p>The summit of the Alhambra hill was probably peopled in Al Ahmar’s time,
+and it continued to be so during the reigns of his successors. The
+population thus dwelling at the foot of the throne was mainly composed,
+in later times at least, of<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> hangers-on at the Court, ex-favourites and
+discarded sultanas, ulemas and doctors of the law, soldiers of fortune,
+and ambassadors, permanent and extraordinary. Such powerful tribes as
+the Beni Serraj, which exercised so much influence in the last stages of
+Nasrite rule, would also have had quarters for their leaders here. The
+little town&mdash;which seems to have had no parallel before or
+since&mdash;extended from the eastern extremity of the hill to within as near
+the doors of the palace as the temper of the monarch for the time being
+may have permitted.</p>
+
+<p>The precise limits of the palace, even at the time of the Conquest of
+the Catholic sovereigns, have never been ascertained. Portions of it
+were undoubtedly demolished to make room for the palace of Charles V. On
+the other hand, it is recorded in the archives of the Alhambra that
+various private houses were acquired for the purpose of enlarging the
+older building. But making due allowance for demolitions, extensions,
+and restorations since the fifteenth century, we have before us in the
+Palace of the Alhambra a magnificent example of the last or third period
+of Hispano-Arabic architecture.</p>
+
+<p>On the general plan of the edifice, the remarks of Contreras are worth
+quoting <i>in extenso</i>: “We penetrate into every Arabic monument through
+an outlying tower, or between two towers, except<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> in the dwelling-houses
+of the people, in which case the entrance is by a small, square opening,
+a portal useless among us, though seen with frequency in the ancient
+houses of Andalusia. A long, narrow hall cuts the axis perpendicularly,
+thus determining the distribution into two wings of the edifice. By the
+meeting of the two axes is found the entrance, before which we find
+those effects of perspective which are so fantastic in these buildings.
+Following the ingress we find a court with tanks and fountains, with
+light and graceful arcades. Behind the second gallery, following the
+same central axis, are oblong naves which cross each other at right
+angles to the extreme end of the building, where the cupolas or turrets
+of the innermost dwelling apartments rise majestically above the level
+of the edifice and are reflected in the waters of the basins. The halls
+of a house of this kind, according to its rank or grandeur, were
+arranged in little pavilions on the long sides of the courts, as various
+in their style of decoration as the tents of a Turkish camp, where the
+quarters of an Amir may be found beside those of the common soldiers.
+And if these rows of chambers are now found disposed according to the
+strict alignment of Mudejar eaves, it is an indication that the severe
+genius of the Christian conquerors has transformed them, not permitting
+those crests, cupolas, or<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> steeples which disturb the symmetry of the
+decoration.</p>
+
+<p>“Outside this plan, absolutely classical, which we may compare to a
+cross with the transverse arm prolonged and cut at various distances by
+perpendicular arms parallel to each other, but of different length, the
+Spanish Arabs found no other easy method of building, so that, while
+diminishing or prolonging the arms of the axis as much as the
+dependencies of the largest palaces might require, they never departed
+from the system, wherever they might build.... This, then, is the true
+scheme of the Alhambra, and it is quite other than that conceived by the
+classicists of the eighteenth century, with its façades, angles, and
+squares.”</p>
+
+<p>It must, however, be admitted that order is much more conspicuous in the
+decoration than in the ground plan of the palace. All Moorish
+ornamentation is based on a strictly geometrical scheme, and every
+design may be resolved into a symmetrical arrangement of lines and
+curves at regular distances. The intersection of lines at various angles
+is the secret of the system. All these lines flow from a parent stem,
+and no figure or ornament is introduced at random. Moslem ornamentation
+abhors irregularity and rejects symbolism. The law of Islam which
+forbade the delineation of living objects was not,<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> however, always
+observed in this palace of half-Europeanised Arabs.</p>
+
+<p>Simplicity and a love of the elementary characterise also the colouring
+of the decorations. On the stucco work only the primary colours were
+used: blue, red, and yellow. The secondary colours occur only in the
+dados of mosaic. The green groundwork of much of the ornamentation as it
+is to-day was formerly blue, time having changed the tint of the
+metallic pigment employed. The decoration of the surfaces seems to have
+been planned with strict regard to the colouring they were to receive.
+Both as regards decoration and colour, allowance must always be made for
+innovations since the Alhambra passed into Christian hands.</p>
+
+<p>“Let us look for a moment,” writes Mr. John Lomas, “at some points of
+detail&mdash;more especially of the ornamentation. Wherever the eye falls, it
+may rest upon some fine bit of arcading or peristyle, so delicate in the
+transparent tracery of its spandrils, in the rich work of its capitals,
+and its slenderness of pillar, that one marvels at first how such
+fairy-like construction could stand for even a single generation.
+‘Lovers’ tears’ they call this lace-work, and they tell one to stand
+just within the dim hall or vestibule, and get a vision of the blue sky
+that appears beyond as a little cloud of sapphires. But it<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> is surely
+better&mdash;an insight into a piece of truer art&mdash;to stand outside the
+eastern kiosk of the Lion’s Court and looking through spandril,
+vestibule, and sala, catch the light glinting through the distant
+opposite windows. That is transparency of effect, indeed! One would like
+to meet with the architect who thought it out.</p>
+
+<p>“Some of the irregularities which obtain here seem almost incredible.
+What could be more satisfactory than this range of exquisite arcading,
+its slender palm-like stems, its gracefully stilted arches, and the
+fairy filigree-work of the spandrils? There seems to be not one single
+point that can offend the justest eye, and yet there are nearly a dozen
+different archings, differing in form, or height, or width; the cloister
+varies in breadth at every turn; the upper galleries are uneven; the
+doorways are the personification of self-will; the columns are placed,
+sometimes singly, sometimes grouped, and the numbers of them on the
+respective sides in no way correspond.... And, nevertheless, there is an
+all-prevailing symmetry&mdash;and harmony. The whole is a triumph of
+accurately judged effect.”</p>
+
+<p>In a foot-note Mr. Lomas adds: “As an instance of the careful way in
+which the architects of these olden days went to work, it may be
+mentioned that the exact relation between the irregular widths of
+cloistering on the long and<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> short sides of the court is that of the
+squares upon the sides of a right-angled triangle. This obtaining of
+beautiful symmetry through irregularity is a strangely lost art.”</p>
+
+<p>We will now proceed to a more detailed description of the Palace of Al
+Ahmar.</p>
+
+<h4><span class="smcap">The Patio de la Mezquita and adjacent Buildings.</span></h4>
+
+<p>Recent researches have shown that the ancient ingress to the Palace of
+the Alhambra was by a doorway leading into what is now the chapel. It is
+square in shape and has long been walled up. Above it may be deciphered
+the following inscription: “O place of the high kingdom and asylum of
+prodigious aspect! Thou hast achieved a great victory, and the merits of
+the work and of the artificer [are] the glory of the Imam Mohammed. The
+Shadow of the Most High [be] upon all!” This text is believed to refer
+to Mohammed III. (1302-1309).</p>
+
+<p>The chapel, which had been established by Ferdinand and Isabel adjacent
+to the Patio de los Leones, was transferred to this part of the Palace
+of Philip IV. in 1621. At that time a fine chimney-piece in the
+Renaissance style was converted into an altar. The apartment contains
+but few remains of its Moorish builders. Without, is the Patio de la
+Mezquita, with an exquisite<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> façade, much disfigured by a modern
+gallery. The walls are adorned with the oft-recurring device, “God alone
+is Conqueror,” and with sentences extolling the sultans, in various
+sorts of arabesques. The inscription round the central window refers to
+Mohammed V. (1354-1391).</p>
+
+<p>The grand Mosque of the Alhambra was built in 1308 by Mohammed III., and
+was in good preservation until the occupation of the French, who,
+according to Gayangos, entirely destroyed it. An account of it has been
+left to us by Ibn-ul-Khattíb, the Wizir of Yusuf I.: “It is ornamented
+with mosaic work and tracery of the most beautiful and intricate
+patterns intermixed with silver flowers and graceful arches, supported
+by innumerable pillars of polished marble; indeed, what with the
+solidity of the structure which the Sultan inspected in person, the
+elegance of the design, and the beauty of the proportions, the building
+has not its like in this country, and I have frequently heard our best
+architects say that they have never seen or heard of a building which
+can be compared with it.” Little more remains of this superb temple than
+the small oratory entered through a door in the wall opposite the altar
+of the chapel. Here the <i>mihrab</i> is still to be distinguished. Before
+it, Yusuf I., in the act of prayer, fell a victim to the poniard of an
+assassin in the year 1354.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p>
+
+<p>Adjacent to the <i>mihrab</i> is the ruined tower of Puñales, which presents
+many architectural points of difference from the rest of the palace, and
+has features which may have suggested these characteristics of the
+Mudejar style seen in other parts of Andalusia. The principal window of
+the tower was furnished with a wooden balcony with lattices similar to
+those seen in Constantinople and Cairo.</p>
+
+<p>Retracing our steps across the Patio de la Mezquita, we reach the
+spacious Court of the Myrtles or of the Fish-pond (Patio de los
+Arrayanes, or de la Alberca). This is the court first entered by the
+visitor through the modern entrance. It is one of the most beautiful
+parts of the palace, and gives a foretaste of the glories that lie
+beyond. One feels immediately transported to the East. “The originality
+of the architecture [says Don Francisco Pi Margall], the airy galleries,
+its rich <i>alhamis</i> or alcoves, the splendid apartments of which glimpses
+are obtained through its arches, the fountains and foliage, the
+reflection of its stuccoed walls in the waters of the pond, the murmur
+of the breezes that agitate the dense myrtles, the transparency of the
+sky, the silence that reigns all about&mdash;all oppress the soul at the same
+time, and leave us for some moments submerged in a sea of sensations
+which reveal to us little more than the harmony of the whole<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> scene.”
+The court forms an oblong, bounded at the north and south by two
+galleries supported on eight columns of white marble, and to the east
+and west by walls pierced with doors and twin-windows covered with
+arabesques, but differing in degree of ornamentation. At each angle we
+find an <i>alhami</i> or alcove, where the Moors were accustomed to laze away
+the day, extended on rich carpets and divans. The walls of these little
+places are encrusted with reliefs in stucco, their roofs are of the
+stalactite pattern. Along the middle of the court extends the <i>alberca</i>
+or fish-pond, its margins hidden by orange trees and myrtles. The clear
+water gushes up into two round basins at either end. To the north, the
+prospect is closed by the battlemented Tower of Comares, to the south by
+the walls of the Palace of Charles V. Through one of the entrances can
+be seen the fountain in the Patio de los Leones. The court is redolent
+of the languor, voluptuousness, and splendour of the East.</p>
+
+<p>Each arcade is composed of seven semicircular arches, the central one
+reaching up to the cornice, while the others, much lower, are closed
+with perforated woodwork or lattices. The roof of the southern gallery
+is of artesonado or troughed form, and bears seven small cupolas; over
+the central arch of the northern gallery is a single cupola painted with
+little gold stars on a blue ground.<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
+
+<p>In this court there are numerous inscriptions, of which the following
+are the most important.</p>
+
+<p>“Go and tell true believers that Divine help and ready victory are
+reserved for them.”</p>
+
+<p>“I am like the nuptial array of a bride, endowed with every beauty and
+perfection.”</p>
+
+<p>“Truly Ibn Nasr is the sun, shining in splendour.”</p>
+
+<p>“May he continue in the noontide of his glory even unto the period of
+his decline.”</p>
+
+<p>In the Patio de la Alberca is an arch differing altogether from all
+others in the Palace. Only one surface is decorated, and that with a
+principal or guiding figure made out by colours. The ornaments
+approximate more closely than is usual in Moorish architecture to
+natural forms, and the arch has very much of a Persian character.</p>
+
+<p>This court is believed to have constituted the division between the male
+apartments, frequented by the general public, which we have already
+described, and the <i>Harem</i>, or private quarters, including the Patio de
+los Leones, &amp;c.</p>
+
+<p>We pass through a beautiful arch decorated with tasteful floral designs,
+into the Sala de la Barca, or ante-room of the Hall of Ambassadors. This
+fine apartment, formerly radiant with colours, was seriously damaged in
+the fire of 1890. The ceiling of this hall, says Owen Jones, “is a
+wagon-headed dome of wood of the most elaborate<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> patterns, receiving its
+support from pendentives of mathematical construction so curious that
+they may be rendered susceptible of combinations as various as the
+melodies which may be produced from the seven notes of the musical
+scale; attesting the wonderful power and effect obtained by the
+repetition of the most simple elements.”</p>
+
+<p>Beyond this hall rises the Tower of Comares, appearing to rest on the
+slenderest pillars and almost to be balanced in the air. The real
+supports have been purposely kept out of sight. The view from the summit
+of the massive battlemented tower is magnificent. From this platform,
+Washington Irving remarks, the proud monarchs of Granada and their
+queens have watched the approach of Christian armies, or gazed on the
+battles in the Vega. The walls of the tower are of surprising thickness.</p>
+
+<p>The interior, which is a square of 37 ft. by 75 ft. high up to the
+centre of the dome, is occupied by the Sala de Embajadores, the
+reception-room of the Sultans. It is the largest and perhaps the most
+imposing of the halls of the Alhambra. Lifting our eyes, we behold a
+glorious, airy dome, of artesonado work, with stars and painted angles.
+Owen Jones is of opinion that the present ceiling replaced an earlier
+one, which was supported by an arch of brick. The hall lacks its former
+pavement of marble, its central<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> fountain, and the lattices that filled
+in its twin-windows. But it is still adorned by a beautiful mosaic dado
+(known as <i>sofeisfa</i>) reaching to the wooden cornice. Numerous are the
+Kufic and African inscriptions introduced into the decoration, the motto
+of Al Ahmar being frequently repeated. Opening on to the hall are nine
+alcoves, each with twin-windows, which have replaced balconies. The
+alcove opposite the entrance was the site of the Sultan’s throne, as the
+long poetical inscriptions testify. What gorgeous assemblies must have
+filled this saloon in bygone years&mdash;and what tumultuous scenes and
+fateful decisions must have been here enacted!</p>
+
+<h4><span class="smcap">The Patio de los Leones and adjacent Apartments.</span></h4>
+
+<p>The Patio de los Leones (Court of the Lions) occupies, with the chambers
+opening on to it, the south-eastern quarter of the Palace. “There is no
+part of the edifice that gives us a more complete idea of its original
+beauty and magnificence than this,” says Washington Irving, “for none
+has suffered so little from the ravages of time. In the centre stands
+the fountain famous in song and story. The alabaster basins still shed
+their diamond drops; and the twelve lions, which support them, cast
+forth their crystal streams as in the days of Boabdil. The
+archi<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span>tecture, like that of all other parts of the palace, is
+characterised by elegance rather than grandeur; bespeaking a delicate
+and graceful taste, and a disposition to indolent enjoyment. When one
+looks upon the fairy tracery of the peristyles, and the apparently
+fragile fretwork of the walls, it is difficult to believe that so much
+has survived the wear and tear of centuries, the shocks of earthquakes,
+the violence of war, and the quiet, though no less baneful, pilferings
+of the tasteful traveller: it is almost sufficient to excuse the popular
+tradition, that the whole is protected by a magic charm.”</p>
+
+<p>The court is an oblong measuring 116 ft. by 66 ft. On each side is a
+peristyle or portico, and at either end a graceful pavilion with a fine
+dome. The supporting marble columns are 124 in number and 11 ft. high.
+They are placed irregularly, sometimes singly, sometimes in pairs&mdash;an
+arrangement which does nothing to mar the general impression of harmony.
+The arches exhibit a similar variety of curve, and spring from capitals
+decorated with rich foliage of various designs. The space above the
+arches is filled in with the usual arabesque work, and adorned with
+verses from the Koran. The ceilings of the porticos are enriched with
+delicate stucco work, and the walls are covered to a height of five feet
+with a dado of blue and yellow azulejos, bordered with<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> blue and gold
+enamelled escutcheons bearing an Arabic motto on a bend.</p>
+
+<p>In the centre of the court is the fountain from which it derives its
+name. This is composed of two basins (in Moorish times there was but
+one) supported by twelve marble lions. These Arabian sculptures, remarks
+Ford, are rudely but heraldically carved, and closely resemble those to
+be seen supporting Norman-Saracenic tombs in Apulia and Calabria. “Their
+faces are barbecued, and their manes cut like the scales of a griffin,
+and their legs like bedposts, while a water pipe stuck in their mouths
+does not add to their dignity.” Indeed, the consolatory reminder
+contained in the tremendously long inscription round the basin, that
+there is nothing to be feared from these creatures, for “life is wanting
+to enable them to show their fury,” seems ludicrously unnecessary. As
+specimens of Arabian sculpture they are in all probability unique; the
+builders of the Alhambra were evidently not over-strict in the
+observance of their religion. The inscription referred to has been
+versified by Valera, and runs into forty-four lines of Castilian.</p>
+
+<p>On the south side of the Patio de los Leones is the Sala de los
+Abencerrages (Hall of the Beni Serraj), so called because it is believed
+to be the scene of the massacre of thirty-six chiefs of that tribe by
+order of Boabdil. A reddish vein in<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> the marble flooring is pointed out
+as the victims’ indelible bloodstains. The story has only the slenderest
+historical foundation, and was first circulated by a writer of the name
+of Ginés Perez de Hita, who lived in the sixteenth century. According to
+some, the usurper Aben Osmin (1446) was beheaded here by order of the
+prince Muley Hassan; but others, writing of that confused period of
+Granadine history, say the tyrant fled to the mountains. This chamber,
+perhaps the most elegant in the Alhambra, does not seem a likely place
+for deeds of blood. It is entered through a wonderfully graceful arch,
+growing out of, rather than springing from, marble shafts. The chamber
+is a square, prolonged on the east and west by two <i>alhamis</i> or alcoves,
+which are entered through exquisitely-curved arches. But the glory of
+the Sala de los Abencerrages is its roof&mdash;its plan like that of a star,
+with pendants or stalactites, and sixteen windows in its vaultings.</p>
+
+<p>“Its thousand stalactites,” writes Don Francisco Pi Margall, “its
+colours, its innumerable archings, its crowns of stars, its complicated
+depressions and projections, its cones, its polygons, its accidents of
+light, the effects of chiaroscuro, present it at first sight as
+something confused, indefinable, indecipherable, resplendent, and vague,
+like that broad band, the Milky Way, which crosses the pavilion of the
+heavens. Yet<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> in reality it is most regular, although irregular in
+appearance; the compass of the geometrician had more to do in planning
+it than the genius of the artist; but its lines are so many, and their
+combinations change so rapidly, that the scheme is only to be
+comprehended after a long and patient study.”</p>
+
+<p>The azulejos which face the walls date from the time of Charles V. In
+the centre of the hall is the marble basin beside which the Beni Serraj
+are fabled to have been slain.</p>
+
+<p>Opposite this hall, on the north side of the Lions’ Court, is the Sala
+de las Dos Hermanas (or, of the Two Sisters), so called after two twin
+slabs of marble let into the pavement. An exquisite arch gives
+admittance from the court to a narrow corridor, which communicates on
+the right with the upper storey, and with the mirador or latticed
+balcony, from which the ladies of the Harem would gaze into the <i>patio</i>
+below. The hall is as rich, as graceful, as suggestive of Eastern luxury
+and repose as that which we have just left. In each wall is an arched
+opening, two being entrances, the others admitting to alcoves somewhat
+more shut off than in other parts of the Alhambra. Above each arch is a
+window corresponding to the apartments in the upper storey, now
+vanished. The roof exhibits the same marvellous combinations of
+geometrical forms,<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> the same confused symmetry, as are seen in the Sala
+de los Abencerrages. Indeed, this hall is generally (but not
+universally) considered the more admirable of the two. The surface of
+the walls is hidden beneath costly reliefs of stucco and azulejos.
+Inscriptions on the sixteen medallions and cartouches have been
+deciphered into a long poem by Ibn Zamrek, composed in honour of
+Mohammed V., and translated into eleven verses of Spanish by Valera. One
+verse exhorts us “to look attentively at my elegance and reap the
+benefit of a commentary on decoration; here are columns ornamented with
+every perfection, the beauty of which has become proverbial.”</p>
+
+<p>In this magnificent apartment formerly stood the famous vase (<i>el
+jarron</i>), which tradition says was discovered in one of the subterranean
+chambers of the Palace, full of gold. It is now in the little Alhambra
+Museum. The vase, which dates from the fourteenth century, and is
+beautifully enamelled in white, blue, and gold, is described by Baron
+Davillier in his work on Spanish Pottery.</p>
+
+<p>Beyond the Hall of the Two Sisters is a long, narrow apartment called
+the Sala de los Ajimeces (Hall of the Twin Windows). Its ceiling and
+decorations are little inferior to those of the larger hall. On the
+north side opens the exquisite Mirador de Lindaraja, or
+prospect-chamber, affording a delightful view of the garden beyond.<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> In
+wealth of detail and ornamentation, this little bower of fifteen by ten
+feet surpasses all other parts of the Palace. In Moorish days the
+Sultanas could look from behind the lattices of the three windows across
+the town and the plain of the Vega. When their eyes wearied of the
+prospect they could scan the numerous poetical effusions traced upon the
+walls.</p>
+
+<p>Returning to the Patio de los Leones, we enter, at its eastern
+extremity, the Sala del Tribunal, or de la Justicia. This hall consists
+of seven chambers opening on to a common vestibule. The four small rooms
+are square, and are separated by three larger oblong apartments. The
+same gorgeous colouring, the same profusion of geometrical
+ornamentation, here as elsewhere in the Alhambra! The arch over the
+central small chamber, or divan, is perhaps the finest in the whole
+Palace. But what renders this hall the most remarkable in the edifice is
+that it contains what are probably the only existing specimens of
+mediæval Muslim figure painting. The ceiling of the central alcove or
+<i>alhami</i> is adorned by a painting representing ten personages, who were
+formerly supposed to be judges, whence the name given to the hall. They
+were intended, more probably, to represent the first ten sultans of the
+Nasrite dynasty. The painting, like those in the other alcoves, is done
+in bright colours (gold,<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> green, red, &amp;c.) on leather prepared with
+gypsum. The designs appear to have been sketched in brown. The paintings
+in the other <i>alhamis</i> are of an even more interesting character. In the
+first, a castle with square towers and battlements is seen; outside it
+is a lion led in chains by a maiden, whose hands are rudely grasped by a
+savage with shaggy hair and beard. A rescuer hurries to her assistance
+in the person of a Christian knight, armed <i>cap-à-pie</i>. On the other
+side of the picture, the same knight is shown attacked by a Moorish
+cavalier, who plunges a lance into his breast. The Moor is evidently out
+hunting, for beneath the combatants’ horses his dogs are chasing the
+wild boar and fox. From the towers of the castle two fair ladies
+observe, with evident pleasure, the Christian’s overthrow. In another
+part of the picture both knights are shown, following the chase; and a
+page is seen, leaning against a tree, with sword and shield, presumably
+awaiting his master’s return.</p>
+
+<p>The second painting is entirely devoted to hunting scenes. Moors are
+seen chasing the wild boar, while the Christians occupy themselves with
+bears and lions. The huntsmen are also seen returning and offering the
+spoils of the chase to their ladies. The Moor greets his sultana with a
+benign and condescending air; the Christian warrior kneels to the lady
+and offers his prize.<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
+
+<p>The most competent critics have now arrived at the conclusion that these
+paintings are of the fourteenth century, and therefore executed under
+the Muslim sovereigns, in defiance of the precepts of the Koran. Whether
+they were the work of a Mohammedan it is not so easy to say. Gayangos
+has pointed out remarkable similarities between these paintings and
+those in the Campo Santo at Pisa; and on the whole it is probable that
+they were executed by an Italian artist, whom the Muslims may not have
+scrupled to employ to do a thing for them unlawful. A parallel instance
+of casuistry is that of London Jews, who on certain feasts employ
+Christians to perform forbidden menial offices. It should also be said
+that in the opinion of some modern Muslim doctors the prohibition of
+sculpture and painting is not to be taken as absolute.</p>
+
+<p>In the Sala de la Justicia was found a basin for ablutions, now in the
+Museum, on which are interesting reliefs of lions, deer, and eagles.
+According to the inscription, this was designed in 1305 for the service
+of the mosque, a fact which seems to support the view of the authorities
+just mentioned.</p>
+
+<p>It was in this hall that Ferdinand and Isabel caused Mass to be
+celebrated after the Reconquest, and here that the cross was set up by
+Cardinal Mendoza. The devices of the Catholic sovereigns<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span>&mdash;the Yoke and
+Sheaf of Arrows&mdash;have been introduced into the decoration of the
+alcoves.</p>
+
+<p>The ruinous tower and apartment to the south of the Hall of Justice,
+called the Rauda, appears to have been the mausoleum of the Sultans. The
+niches in which the <i>turbehs</i> were placed may still be distinguished,
+and the long, narrow trough used for the purification of the corpse. In
+the Museum may be seen three tablets with the epitaphs of the Sultans
+Yusuf III. and Mohammed II. and of a prince Abu-l-Hejaj, probably the
+former’s son.</p>
+
+<p>Of the few remaining apartments of the Alhambra, the most interesting
+perhaps is the Tocador, or Queen’s Dressing-room, at the side of the
+Patio de Lindaraja, opposite the Mirador de Lindaraja. This was the
+apartment occupied by Washington Irving, according to his own showing:
+“On taking up my abode in the Alhambra, one end of a suite of empty
+chambers of modern architecture, intended for the residence of the
+governor, was fitted up for my reception. It was in front of the
+Palace.... I was dissatisfied with being lodged in a modern
+apartment.... I found, in a remote gallery, a door communicating
+apparently with an extensive apartment locked against the public.... I
+procured the key, however, without difficulty; the door opened to a
+range of vacant chambers of European<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> architecture, though built over a
+Moorish arcade.... This fanciful suite of rooms terminated in an open
+gallery with balustrades, which ran at right angles with a side of the
+garden.... I found that it was an apartment fitted up at the time when
+Philip V. and the beautiful Elizabeth of Parma were expected at the
+Alhambra, and was destined for the Queen and the ladies of her train.
+One of the loftiest chambers had been her sleeping-room, and a narrow
+staircase leading from it ... opened on to the delightful belvedere,
+originally a mirador of the Moorish sultanas, which still retains the
+name of the <i>tocador</i>. I determined at once to take up my quarters in
+this apartment. My determination occasioned great surprise, but I was
+not diverted from my humour.”</p>
+
+<p>This exquisite apartment is adorned by four sixteenth-century paintings,
+representing the legend of Phaëton. On the artesonado ceiling, painted
+and gilded, may be read the invocation: “The help and protection of God
+and a glorious victory for our Lord, Abu-l-Hejaj, Amir of the Muslims!”
+Round the boudoir runs a gallery of nine arches on Arabic pillars,
+painted and decorated with the figures of Faith, Hope, and Charity,
+Justice, Strength, and Temperance, Jupiter, Neptune, Plenty, and the
+Vestals’ Fire. These paintings were the work of two Italians,<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> Giulio
+Aquila and Sandro Mainere, both pupils of Raphael.</p>
+
+<p>The charming little garden or patio of Lindaraja or Daraja, which
+intervenes between this regal boudoir and the Moorish <i>mirador</i>, appears
+to have been originally called <i>Jin Dar Aja</i>, or garden of the palace of
+Ayesha. The old Moorish garden that used to extend as far as the Tower
+of Comares is now confined by the walls of the Sala de las Ajimeces and
+three arcades of modern construction. The fountain in the centre dates
+from the seventeenth century. An enchanting spot is this, with its
+cypress, orange, and citron-trees rising from trim hedges of myrtle and
+rose.</p>
+
+<p>Between this garden and the court of the Alberca lie the baths&mdash;those
+indispensable adjuncts to the Muslim household&mdash;most skilfully and
+artistically restored by Contreras. The plan is that usually followed
+throughout the East. Passing through the <i>Sala de las Cámas</i> or Unrobing
+Room, where, from a high gallery the songs of the odalisques were wafted
+down to the sultan reclining in one of the alcoves, we enter the Sala de
+Baños, with its white marble bath and pavement of glazed tiles. This
+corresponds with the apartment called by the Arabs, the hararah, or
+vapour-bath, and described in Lane’s “Manners and Customs of the Modern
+Egyptians”; and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> it was under the graceful arcades which support the
+dome that the bathers underwent the kneading and rubbing processes
+lately introduced among us. The chamber is lighted from above through
+star-shaped apertures. The inscriptions refer to the felicity awaiting
+men in this palace of delight. The bathing-apartments consist of three
+halls and two smaller chambers, vulgarly called the Infantas’ Baths.</p>
+
+<h4><span class="smcap">The Towers and Gates of the Alhambra</span></h4>
+
+<p>“The wall of the Nasrites,” writes Señor Fernández Jiménez, “of which
+scarcely a patch remains unimpaired, measured about 1400 metres from one
+extremity to the other, and was defended by twenty-six towers, counting
+as one the two buttresses that defended the gate of the Siete Suelos. To
+this number should properly be added the Torre de las Armas, which is
+pierced by a gate common to the Alcazaba and Alhambra, and is therefore
+also a Nasrite work. The citadel was fortified, moreover, by five
+bastions, corresponding to as many gates, and by various external
+defences, of which traces remain in the modern alamedas. The thickness
+of the towers varies according to their situation and purpose, the
+distance between them ranging from 34 to 64 metres approximately.” At
+the present day<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> we can count only fifteen towers, the names of which
+are: las Aguas, los Siete Suelos, las Cabezas, la Justicia, la Polvora,
+los Hidalgos, la Vela, las Armas, las Gallinas, los Puñales, las Damas,
+los Picos, del Candil, de la Cautiva, and las Infantas.</p>
+
+<p>The Puerta de la Justicia is the principal entrance to the Alhambra. It
+was built, as the inscription over the arch relates, by the Sultan Yusuf
+Abu-l-Hejaj, in 1348. Here justice was administered in Moorish days
+after the old patriarchal fashion. Above the arch is carved an open
+hand, the signification of which is a matter of controversy. The most
+probable explanation is that it is a religious symbol, the five fingers
+typifying Faith in God and the Prophet, and the commandments, to pray,
+to fast, to give alms, and to make the pilgrimage to Mecca. The inner
+arch is beautifully decorated with arabesques, and with the symbol of
+the key. The entrance is continued through another gate, with winding
+passages contrived so as to embarrass an enemy. The arch which gives
+egress from the tower shows some fine enamelling and festoons.</p>
+
+<p>Just outside this gate is the Pilar de Carlos V., a fountain in the
+Greco-Roman style, erected by the Alcaide Mendoza in 1545. It is
+ornamented with the Imperial arms, and sculptured<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> heads of the river
+gods, Genil, Darro, and Beiro.</p>
+
+<p>The double Torre de los Siete Suelos flanks a gateway, now walled up,
+which was formerly the principal entrance to the fortress. Through it
+the unfortunate Boabdil is said to have passed on his way to exile and
+obscurity. The tower is so called because it is believed to descend
+seven storeys underground. Four subterranean chambers have been
+investigated. Here tradition places the site of much buried treasure,
+and fables are told of phantom guards and enchanted sentries.</p>
+
+<p>At the south-eastern angle of the <i>enceinte</i> is the ruinous Torre del
+Agua, which derives its name from the aqueduct that at this point spans
+the ravine. On the north-eastern side we reach the Torre de las
+Infantas, the interior of which is a perfect model of the smaller
+Oriental dwelling-house. Through a small vestibule we reach a covered-in
+patio with a fountain in the centre, and alcoves opening out on three
+sides. The ornamentation is graceful and original. The tower is one of
+the most interesting parts of the fortress. Somewhat less complete and
+regular in its plan, but even more elegantly decorated with
+rose-coloured tiles, is the adjoining Torre de la Cautiva (Captive’s
+Tower). Here the inscriptions resound the praises of Abu-l-Hejaj<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> and
+refer to the <i>Lion</i> residing within these walls&mdash;a very different
+occupant from a captive!</p>
+
+<p>The Torre de los Picos seems to have been so styled from the peaked
+battlements which crown it. It evidently underwent extensive remodelling
+about the time of the Spanish Reconquest, but some relics of the Nasrite
+rule remain in the shape of some beautifully moulded twin windows.</p>
+
+<p>The Torre de Ismaïl, or de las Damas (Ladies’ Tower), was given by
+Mohammed V. to his son Ismaïl, and has a richly decorated belvedere and
+a hall very tastefully ornamented. The ruined tower of Puñales has some
+curious stucco decorations, differing from those found in other parts of
+the palace.</p>
+
+<p>Between the Torres de los Picos and de las Damas is a little <i>mihrab</i> or
+oratory built on the wall. At the Reconquest it was appropriated to the
+private use of one Astasio de Bracamonte. Though it has undergone
+deplorable “restorations,” the <i>kiblah</i> or easterly niche and other
+indications of the Muslim rite can still be made out. Strangely enough,
+the portal is guarded by two Moorish lions brought from the old
+Mint&mdash;the injunctions of the Mohammedan religion being thus ignored in
+its own temple!</p>
+
+<p>The parish church of Santa Maria, erected in 1581, occupies the site of
+the Mosque of which Al Khattíb appears to speak, writing of the deeds<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span>
+of Mohammed III. (1302-1309). “And among his great actions, the greatest
+and most remarkable was the construction of the great Mosque or Aljama
+of the Alhambra, with all that it contained of elegance and decoration,
+mosaics, and cements; as well as lamps of pure silver and other great
+marvels. In front of the Mosque were the baths, erected with the money
+levied from the Christians in his dominions. With the receipts from
+these baths the Mosque and its ministers were maintained.” The modern
+church is of brick, and contains nothing of note, except a Visigothic
+inscription, referring to the construction of three temples, dedicated
+to St. Stephen, St. John, and St. Vincent, in the years 594 and 607.</p>
+
+<h4><span class="smcap">The Palace of Charles V.</span></h4>
+
+<p>The forlorn, roofless palace in the classical style, which seems so out
+of place amid these Oriental buildings, was begun by order of the
+Emperor Charles V. in 1538. It was never completed. The Flemish Cæsar’s
+intention seems to have been to establish a permanent residence here,
+whence he could contemplate the beauties of the Moorish palace. The
+building is a quadrangle of four façades, each seventeen metres high.
+The lower storey is of the Tuscan order, the upper, Ionic. Some of the
+marble portals are very fine. In the decoration appear allusions to the
+campaigns,<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> on sea and land, directed by the Emperor, his motto, <i>Plus
+oultre</i>, and the emblem of the Golden Fleece.</p>
+
+<p>The interior of the palace is occupied by an imposing circular court,
+with a gallery supported by thirty-two columns. The staircase is loftily
+designed, and altogether the palace, if it had been completed and built
+almost anywhere else, would have been a dignified memorial of Charles’s
+reign.<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p>
+
+<h3><a name="THE_GENERALIFE" id="THE_GENERALIFE"></a>THE GENERALIFE</h3>
+
+<p class="nind"><span class="smcap">Across</span> an ivy-draped ravine&mdash;a perfect study in green and red&mdash;the
+Palace of Recreations, the Generalife, overlooks the rugged walls of the
+Alhambra. The name is believed to have been derived from Jennatu-l’arif,
+“the garden of the architect.” The palace appears to have been built by
+a Moor called Omar, from whom it was purchased by the Sultan
+Abu-l-Walid. At the Reconquest it became the property of a renegade
+prince, Sidi Yahya, who adopted the name of Don Pedro de Granada, and
+whose descendants, the family of Campotejar, are to this day the actual
+owners.</p>
+
+<p>The Generalife cannot be regarded as an important monument of Moorish
+architecture. Through the central court, which measures 48.70 by 12.80
+metres, runs the conduit which irrigates the whole estate, and connects
+with the Acequia (or canal) de la Alhambra. The arcaded southern façade
+and the spacious hall adjoining have been altered in order to make a
+large vestibule. The arcade resembles that of the Court of the
+Fish-pond, and exhibits a poetical inscription declaring<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> that
+Abu-l-Walid restored the palace in the year 1319.</p>
+
+<p>The halls of the Generalife are of little interest in themselves, and
+contain several portraits of doubtful authenticity. Those of Ferdinand
+and Isabel, of Juana la Loca and her husband, and of the fourth wife of
+Philip II., are the most important. Among the portraits of the Granada
+family is one supposed to be that of Ben Hud Al Mutawakil, the rival of
+Al Ahmar, and ancestor of Sidi Yahya. This seems to be the portrait
+which English travellers persist in mistaking for that of Boabdil.</p>
+
+<p>But if the palace is in no way remarkable, the gardens are a veritable
+bower of beauty and delight. Water bubbles up everywhere and moistens
+the roots of myrtles, cedars, and tall cypresses, the finest trees in
+all Spain. The legend of the Abencerrage discovered in dalliance with a
+Sultana, beneath one of these cypresses, is absolutely destitute of any
+sort of foundation. The nature of the spot&mdash;so eminently fitted for love
+and lovers’ trysts&mdash;may have suggested the story. But the garden is
+ill-kept, and many of the magnificent trees have been cut down.</p>
+
+<p>&nbsp;</p>
+
+<p>In the city of Granada itself the memorials of the Moorish domination
+are scanty and fast<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> disappearing. In the Zacatin, which was in old
+times the chief bazaar, is a building formerly styled the Casa del Gallo
+de Viento (Weathercock House), and now known by the commonplace
+designation of Casa del Carbon (Charcoal House), owing to its having
+been appropriated to the storage of that useful product. Tradition avers
+that the palace (for such the house at one time was) was built by Badis
+Ibn Habus, a governor of Granada, who ruled about 1070 <small>A.D.</small>, by whose
+direction a vane was made in the shape of a warrior, mounted and armed
+with shield and spear. In later years the building served as a corn
+exchange. The only notable features are the entrance with its horseshoe
+arch and twin-windows, and vestibule with dome and alcoves. Adjacent to
+the Casa del Carbon is the house of the Duque de Abrantes. Beneath it is
+said to be a subterranean passage communicating with the
+Alhambra&mdash;blocked up, oddly enough, by the present owner of the site,
+without any exploration or examination.</p>
+
+<p>Entered from the Carrera de Darro is the once handsome Moorish bath
+house, now in the last stages of dilapidation and neglect. It is
+believed to date from the earliest period of Mohammedan rule. The arches
+are of the old horseshoe type, and the columns and capitals of a
+primitive order. An inscription beginning, “In the Name of God,<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> the
+Merciful, the Compassionate ...” may still be made out.</p>
+
+<p>The bath itself, the various chambers of repose and disrobing, the usual
+alhamies, can also be traced.</p>
+
+<p>The old Moorish mint was demolished in 1643, and the famous Gate of
+Bivarrambla can no longer be described in any sense as a Mohammedan
+work.</p>
+
+<p>The effacement of the Moorish character of Granada, as compared with its
+survival in Seville, serves to show how much more intense the religious
+and racial bias became in Spain during the two hundred and odd years
+that elapsed between the conquests of the two cities. The spirit in
+which St. Ferdinand, Alfonso el Sabio, and Pedro I. approached the works
+of their Mohammedan foes and subjects presented a very favourable
+contrast to that manifested by the Catholic sovereigns, Charles V. and
+Philip II.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
+
+<h3><a name="CATHOLIC_GRANADA" id="CATHOLIC_GRANADA"></a>CATHOLIC GRANADA</h3>
+
+<p class="nind"><span class="smcap">Almost</span> the first act performed by a Spanish king on his entry into a
+conquered Mohammedan city was to convert the chief mosque (aljama) into
+a Christian church. This was also done at Granada, but the chapel of the
+Alhambra remained for some time the cathedral of the new See. The mosque
+in the city, afterwards elevated to that rank, is described by the Abbé
+Bertaut of Rouen (quoted by Valladar), writing in 1669, as “square, or
+rather longer than wide, without vaults, and the roof covered with
+tiles, which for the most part were not even joined. The whole was
+supported by a number of small stone columns, harmoniously arranged.”
+Jorquera says the mosque was composed of five low naves. Whether or not
+it was originally a Visigothic church, as some writers pretend, the
+temple probably dated from the earliest centuries of the Muslim
+occupation, and the tower which contained the mihrab was long famous as
+the Torre Turpiana.</p>
+
+<p>The building, after serving the purposes of the Catholic rite for two
+centuries, disappeared between 1705 and 1759 to make room for the<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span>
+present sacristia (sacristy). As a cathedral, it had been superseded by
+the adjoining and existing edifice, dedicated on August 17, 1561.</p>
+
+<p>Older by about a quarter of a century than the foundations of the
+cathedral is the Royal Chapel (Capilla Real), which is the most striking
+and interesting memorial of the Conquest of Granada. It was begun in
+1505 as a mausoleum for the Catholic sovereigns, Ferdinand and Isabella,
+under the direction of the famous Enrique Egas, and completed in the
+year 1517&mdash;a year after the king’s death and thirteen years after the
+queen’s. The chapel is shaped like a Latin cross, and is one of the
+latest specimens of the Spanish Gothic style. It is a comparatively
+modest and simple building, contrasting strongly with the ornate and
+elaborate structures of the succeeding age. The decoration of the
+interior consists almost entirely in a frieze bearing a long inscription
+in gilt letters which reads: “This chapel was ordered to be built by the
+most Catholic Don Ferdinand and Doña Isabella,” &amp;c. &amp;c. There is a
+suggestion of Gothic influence in the magnificent railing or grille,
+partly of iron, partly gilt, which divides the nave from the transept,
+and was made in 1522 by Maestre Bartolome. The kneeling figures of the
+Catholic sovereigns are seen on either side of the high altar. These,
+says Ford, “are very remarkable, being exact<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> representations of their
+faces, forms, and costumes: behind Ferdinand is the victorious banner of
+Castile, while the absorbing policy for which both lived and died&mdash;the
+conquest of the Moor and the conversion of the infidel&mdash;are embodied
+beneath them in singular painted carvings; these have been attributed to
+Felipe Vigarny, and are certainly of the highest antiquarian interest.
+In that which illustrates the surrender of the Alhambra, Isabel is
+represented riding on a white palfrey between Ferdinand and the great
+Cardinal Mendoza, who sits on his trapped mule, like Wolsey. He alone
+wears gloves; his pinched aquiline face contrasts with the chubbiness of
+the king and queen. He opens his hand to receive the key, which the
+dismounted Boabdil presents, holding it by the wards. Behind are ladies,
+knights, and halberdiers, while captives come out of the gates in pairs.
+Few things of the kind in Spain are more interesting. The other
+basso-relievo records the ‘Conversion of the Infidel’; in it the
+reluctant flock is represented as undergoing the ceremony of wholesale
+baptism, the principal actors being shorn monks. The mufflers and
+leg-wrappers of the women&mdash;the Roman <i>fasciæ</i>&mdash;are precisely those still
+worn at Tetuan by their descendants.”</p>
+
+<p>These reliefs are unquestionably more vigorous and artistic, and also
+more in harmony with the structure generally, than the gorgeous
+Renais<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span>sance cenotaphs of Ferdinand and Isabella&mdash;most probably the work
+of the Spanish sculptor, Bartolome Ordoñez. The two great sovereigns are
+shown lying side by side, the faces expressing infinite dignity and
+repose. At each corner of the sepulchre is seated one of the four
+Doctors of the Church, below whom is a Sphinx. Medallions on two of the
+four sides represent respectively the Baptism and Resurrection of Jesus,
+and St. George and St. James. Beautifully done are the figures of the
+Twelve Apostles, the escutcheons, and, in fact, all the details of this
+grandiose but unimpressive monument.</p>
+
+<p>The adjacent sepulchre of Ferdinand and Isabella’s daughter, the unhappy
+Queen Juana, and of her husband, Philip I., the Handsome, is inferior in
+design and execution. The heads of the recumbent figures are not
+faithful portraits. The reliefs represent the Nativity, the Adoration of
+the Magi, the Agony in the Garden, and the Entombment. In the niches are
+figures of the Cardinal Virtues (not conspicuous in Philip during life),
+and at the corners the statues of Saints Michael, George, Andrew, and
+John the Divine. Very beautiful are the figures of children, and much of
+the heraldic decoration. The whole is in the most florid style of the
+Renaissance, and was carved at Genoa by order of Juana’s son, Charles
+V.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p>
+
+<p>Very different are the actual resting-places of the sovereigns so
+gorgeously commemorated in stone above. Descending to a narrow vault
+beneath the cenotaphs, we find five rude coffins, with iron bands.
+Herein repose the remains of Ferdinand and Isabella, of Juana and
+Philip, and of their son, Prince Juan. Ferdinand’s coffin may be
+identified by the letter F. “Here,” writes Pi Margall, “lie together in
+the dim light fathers and sons, monarchs of three dynasties united in
+less than a century for the greater glory of the fatherland; here lie
+the last princes of the Mediæval Age, and those who at its close
+inaugurated the Modern Era. Here they lie&mdash;heroes and fathers of
+heroes&mdash;kings who never retreated before the face of danger, and queens
+whose lives were consumed in the fire of profound love; fortunate ones
+who, returning from the battle, found rest and refreshment in the arms
+of their beloved; and unhappy souls who drained the cup of suffering,
+without finding in the dregs even that lethargy which the excess of
+grief procures for some. Who can enter this murky precinct without
+feeling his heart swayed by contrary emotions&mdash;without inclining with
+reverence before the lead which covers the men who rescued the nations
+from the anarchy of feudalism? While a tear may drop on the bier of that
+great princess [Isabella], who can restrain his pity for<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> that unhappy
+queen [Juana] who, intoxicated with love, passed the night waiting for
+the dawn to break that she might go forth, alone, to the ends of the
+world, in search of her adored husband, and would not leave his coffin
+till the tomb had closed upon it?”</p>
+
+<p>We leave these great and unhappy ones of a bygone age, passing away to
+nothingness in their last dark palace, and ascend to the chapel. There
+is not much more to see. In the sacristy are preserved the crown and
+sceptre of the Catholic queen, the sword of Ferdinand, and some rich
+Gothic vestments. Over an altar on the south side is a <i>Descent from the
+Cross</i>, of which Ford speaks highly. The Chapel Royal communicates with
+the cathedral by a noble portal in the Late Gothic style. The pillars on
+each side are adorned by the statues of kings-at-arms. Above the
+entrance an eagle upholds the Arms of Spain. Heraldic devices, religious
+emblems, and reliefs of saints and cherubim are mingled in the
+decoration, which is beautiful and not over-elaborate.</p>
+
+<p>The Chapel Royal, though architecturally forming part of the cathedral
+building, has an entirely independent ecclesiastical organisation of its
+own, with its own chapter and clergy. Amusing instances are recorded of
+the bad blood existing between the cathedral canons and the royal
+chaplains. This enmity (says Valladar)<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> was carried so far that once,
+when the Archbishop Carrillo de Alderete wished to visit the chapel,
+attended by his canons, the chaplains refused to admit them. The
+archbishop accordingly caused the disobliging priests to be arrested,
+whereupon a long lawsuit ensued. The chaplains had the right of passage
+across the cathedral transept to the Puerta del Perdon, which is the
+official or state entrance to the royal mausoleum&mdash;a privilege which
+seems to have galled the canons to the quick. Strange that such
+ludicrous bickerings should have arisen out of a foundation which
+commemorates the grandest and most epoch-making events in the national
+history. Truly from the sublime to the ridiculous there is but one step.</p>
+
+<h4><span class="smcap">The Cathedral</span></h4>
+
+<p>The Cathedral of Granada was built adjoining and connecting with the
+Chapel Royal and sacristy or old mosque, between the years 1523 and
+1561. Charles V. preferred the Gothic style, but at last consented to
+the adoption of the designs of Diego de Siloe. The church is described
+by Ford as one of the finest examples of the Græco-Roman style, but the
+plan is distinctly Gothic, nor can the edifice be said to deserve the
+description, “the most magnificent temple in Europe after the Vatican.”
+It is impressive in its severity<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> and vastness, and may be described as
+dignified rather than beautiful.</p>
+
+<p>The façade, said to have been designed by Alonso Cano, is flanked by
+towers (one unfinished) and divided by four huge stone columns which
+support a cornice. On this rest four pillars, sustaining three deep,
+gloomy vaultings. At the foot of these pillars, on the cornice, are
+statues of the Apostles. The principal door is adorned with a high
+relief of the Incarnation by Risueño, the side-doors with reliefs of the
+Annunciation and Assumption. The tower on the left rises seventy-five
+metres above the level of the present floor; its three stages are in the
+three styles of Grecian architecture respectively.</p>
+
+<p>The walls of the Cathedral are, to a great extent, hidden, as is so
+often the case on the Continent, by adjoining buildings. The Puerta del
+Perdon, which, as we have said, officially belongs to the Chapel Royal,
+is Diego de Siloe’s masterpiece, and is elaborately sculptured. Over the
+arch two allegorical figures uphold a tablet on which is inscribed a
+dedication to the Catholic monarchs. The great flanking columns of the
+portal are decorated with huge escutcheons. The introduction of heraldic
+symbols into religious architecture is nowhere more conspicuous than at
+Granada.</p>
+
+<p>The interior of the church, which is paved with<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> black and white marble,
+is composed of five naves with a cross-vaulting in the Gothic style,
+supported by five piers, each of which is composed of four Corinthian
+pillars. Above the high altar at the east end of the structure rises a
+noble dome, 220 ft. high, resting on eight pillars, and opening with a
+bold main arch, 190 ft. high. The expansion of the Capilla Mayor
+(principal chapel) at this point into the segment of a circle is a
+clever feat of architecture. Lafuente says, “The daring of the main arch
+is admirable, the way it is contrived creating a wonderful effect:
+looking at it from the elliptical arches it appears to be extended and
+on the point of falling away through having sunk below its level.”</p>
+
+<p>The Capilla Mayor is a handsome, profusely ornamented fabric, supported
+on twenty-two Corinthian columns in two courses. Between the lower
+columns are the elliptical arches referred to, and on the upper course
+are the seven beautiful paintings of scenes from the Blessed Virgin’s
+life, by Alonso Cano. Between the courses are interesting paintings by
+Juan de Sevilla and Bocanegra. Much of the statuary is good, and the
+Flemish stained glass in the fourteen windows is beautifully rich in
+colour and well executed. The high altar itself, the work of José de
+Bada, is in a depraved style; but its<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> badness is redeemed by the two
+kneeling statues of Ferdinand and Isabella on either side by Mena and
+Madrano, and by the bold, great heads of Adam and Eve, above the
+pulpits, carved and painted by Alonso Cano.</p>
+
+<p>In the centre of the middle nave, separated from the Capilla Mayor by
+the transept, is the choir, in that debased Churrigueresque style of
+which every one speaks ill. The only things notable within it are the
+fine organs, and the crucifix by Pablo de Rojas. Beneath the choir is
+entombed Alonso Cano (died 1667), one of the greatest of Andalusian
+painters, and a minor canon of the Cathedral.</p>
+
+<p>One of his most characteristic pictures&mdash;the <i>Virgén de la Soledad</i>&mdash;is
+to be seen over the altar of the Capilla de San Miguel (the first chapel
+on the right on entering the church). It was stolen in 1873, and
+recovered in the city shortly after. The chapel is beautifully adorned
+with red marbles and serpentine. It was built by that high-minded,
+beneficent prelate, Archbishop Moscoso, in 1804. His tomb is by the
+sculptor Folch. In the chapel are placed&mdash;we do not know why&mdash;two
+elegant Chinese vases.</p>
+
+<p>Between this and the next chapel is the entrance to the sacristy or old
+mosque, and to the left of it a small picture, before which that really
+saintly saint, St. John of God, was accustomed<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> to pray. The Capilla de
+la Trinidad has some good paintings, among them a <i>Trinity</i> by Cano, two
+miniatures on copper by the same artist, a <i>Death of St. Joseph</i> by
+Maratta, and copies of works by Raphael and Ribera. There are genuine
+Riberas (<i>The Child Jesus</i>, <i>St. Laurence</i>, and <i>St. Mary Magdalene</i>)
+and more works by Cano in the extravagant eighteenth-century chapel of
+Jesus Nazareno. After this comes the handsome Gothic door of the Chapel
+Royal, by Enrique Egas; and beyond that the Chapel of Santiago, with a
+fine equestrian statue of the Patron Saint of Spain, presented to the
+Cathedral by the City in 1640. The old painting of the Virgen del Perdon
+was given to Isabella the Catholic by Innocent VIII., and used to be
+carried about by the queen. It is publicly venerated (not worshipped or
+adored, please note) on the anniversary of the Reconquest, January 2.</p>
+
+<p>Passing the Cathedral sacristy with its handsome door by Siloe, we pause
+before the Puerta del Colegio. Behind the sculptured Ecce Homo, it is
+said Maeda carved a Lucifer of extraordinary beauty. He applied to Siloe
+for permission to give a proof of his skill, and was told by the testy
+architect to sculpture the Devil himself if he wanted to. Maeda was wag
+enough to take him at his word.</p>
+
+<p><span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p>
+
+<p>The chapel of Santa Ana covers the vault intended for the archbishops,
+and contains a good sixteenth-century altar-piece, and a St. Jean de
+Matha (a Frenchman, not a Spaniard) by Bocanegra. The six chapels that
+follow present no features of interest. The fourth chapel on the left
+side of the Cathedral is named La Virgen de la Antigua, after a Gothic
+image greatly venerated by Ferdinand the Catholic, and regarded with
+great reverence by the devout of Granada. Here are two portraits by Juan
+de Sevilla of Ferdinand and Isabella at prayer; the king is clad in
+armour. The paintings are in the Venetian style. Of the retablo by
+Cornejo, the less said the better. Cano’s realistic heads of Saints John
+and Paul reflect the fondness of the pietists of his day for the
+morbid&mdash;they are in the Chapel of the Virgen del Carmen. The first
+chapel, or baptistry, was erected by Adam and Aguado, at the expense of
+Archbishop Galvan, who is buried here near another occupant of the
+episcopal throne, Don Bienvenido Monzón. The fine reliefs of Saints
+Jerome and Isidore are by Mora. We have now reached the entrance doors,
+on each side of which hangs a good painting. The three pictures over the
+doors represent mystic allegories.</p>
+
+<p>The most interesting feature of the chapter room, or Sala Capitular, is
+the noble porch, with its figures of Justice and Prudence, which,<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> with
+the group of the Trinity, may be safely attributed to Maeda.</p>
+
+<p>Before leaving the Cathedral, the sacristy should be visited. It
+contains Cano’s <i>Assumption</i> and two small statues by him; a <i>Crucifix</i>
+by Montañez; a <i>Holy Family</i>, by Juan de Sevilla; and a <i>Mary
+Immaculate</i> by Bocanegra. The treasury contains some wonderfully
+embroidered vestments, and good, but not extraordinary, examples of the
+silversmith’s craft. The signet ring of Sixtus III., and the monstrance
+presented by Isabella, have of course, an historical interest.</p>
+
+<p>A casket is also shown to visitors, who are assured it is that in which
+were placed the jewels pawned by Isabella to provide funds for
+Columbus’s first voyage. If this is true, Pandora’s box was as nothing
+compared to this one! The Queen’s Missal, the work of Francisco Flores,
+is beautifully illuminated. It is placed on the high altar on the
+anniversary of the Reconquest. Those interested in arms will handle with
+curiosity the sword of Ferdinand the Catholic; the hilt has a spherical
+pommel and drooping quillons with branches towards the blade, which is
+grooved for about two-thirds of its length. Other relics of the Catholic
+sovereigns are their sceptre, Isabella’s crown, the royal standards used
+at the Reconquest, and a chasuble said to have been embroidered by the
+Queen.<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p>
+
+<p>By the door next to the Capilla de San Miguel we pass into the Sagrario
+(sacristy) occupying the site of the old mosque, which it replaced in
+1705. It was designed by Don Francisco Hurtado and Jose de Bada, and it
+is well that the responsibility for so meretricious a piece of
+architecture should be divided. It may be dismissed as Churrigueresque.
+It is not, fortunately, devoid of interest. In one of the chapels is
+buried “the magnificent cavalier, Fernando del Pulgar, Lord of El
+Salar,” as the inscription records. This valiant knight and true, during
+the last campaign against Granada, rode into the city with fifteen
+horsemen, and set a lighted taper on the floor of the mosque, and, as
+others say, nailed a paper bearing the Ave Maria on the door. This
+exploit earned for him and his descendants the extremely valuable
+privilege of wearing their hats in the Cathedral. De Pulgar’s bones have
+fared better than those of the good Archbishop de Talavera, which were
+scattered when the old mosque was demolished. The Sagrario possesses
+several good paintings, including a San José by Cano, of whose works the
+Cathedral buildings, as may have been noticed, contain a fine selection.
+By the door next to the Capilla de Pulgar, and a darkish passage, the
+Chapel Royal may be entered.</p>
+
+<p>The oldest purely Christian building in Granada is the convent and
+chapel of San Jeronimo, a<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> foundation transferred here from Santa Fé
+immediately after the Reconquest. The convent is now a cavalry barracks,
+and is not to be inspected by the curious. The church, built by Diego de
+Siloe, is in the form of a Latin cross&mdash;stern, plain, dignified. The
+walls are adorned with frescoes representing scenes from the Passion,
+portraits of the Fathers of the Church, and angels playing on the harp
+and singing. They were executed in 1723 by an obscure painter called
+Juan de Medina. Eight chapels open on the aisles and nave, one
+containing a fine retablo, with the Entombment as subject. The principal
+chapel exhibits Siloe’s skill at its best. He is said to have realised
+in its construction “his lofty ideal of effecting a truly Spanish
+Renaissance; an ideal which bore little fruit, since some of his
+followers confined themselves to the strictest classicism, others to the
+development of the plateresque.” Very much in the spirit of the
+Renaissance is the decoration of the chapel with the statues of the
+worthies of the classic world, Cæsar, Pompey, Hannibal, Homer, and
+others, side by side with Old Testament characters. Strange, this
+admiration for a pagan civilisation co-existent with violent religious
+fanaticism against all contemporary non-Catholics!</p>
+
+<p>The whole church was practically dedicated to the memory of Spain’s
+greatest soldier, the Great<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> Captain, Gonzalo de Cordova, who was buried
+here, but whose ashes have been transferred to Madrid. The hero and his
+duchess are shown, sculptured, kneeling in prayer on either side of the
+high altar, over which rises a magnificent retablo, divided into several
+compartments filled with reliefs and statues. The horizontal sections
+are in the Doric, Ionic, Corinthian, and composite Orders respectively.
+The lowest central compartment is occupied by the Tabernacle, the
+subjects of the three compartments immediately above being the
+Immaculate Conception, St. Jerome, and the Crucifixion. Over all is
+shown the figure of the Eternal Father. This splendid work, the best of
+its kind in Spain, seems to have been executed by a variety of artists,
+among them Juan de Aragon, Pedro de Orea, and Pedro de Raxis. The
+beautiful shell-like vaulting above is adorned with figures of the
+Apostles, of Saints Barbara, Katharine, Magdalen, and Lucy, and the
+warrior-saints, George, Eustace, Martin, Sebastian, and Francis. The
+sword given by the Pope to the Great Captain, formerly one of the
+treasures of the chapel, was carried off by Sebastiani during the
+Peninsular War.</p>
+
+<p>There are a great many beautiful things in this old church which seem to
+escape the ordinary traveller’s notice. The seats in the choir were
+designed by Siloe. The frescoes, representing the<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> Triumph of the
+Church, of the Virgin, and of the Eucharist, the Assumption, &amp;c., are
+very well done. The restoration of the fabric has often been denounced,
+but it is difficult to see how it could have been better carried out.</p>
+
+<p>In the neighbourhood of the Great Captain’s chapel is a monument to a
+hero and a great Spaniard of a very different type. Juan de Robles
+devoted himself to the sick and the suffering with a zeal which earned
+for him confinement in a madman’s cage. His virtues were recognised
+after his death, and procured him canonisation as St. John of God in
+1669. A tribute to his memory which he would have no doubt appreciated
+better is the large hospital founded two years after his death, that is,
+in 1552. The saint’s ashes, in a silver coffin, repose in the hospital
+chapel, a gorgeous structure, characterised by costliness and bad taste.
+The trail of the serpent of Spanish architecture&mdash;Churriguera&mdash;is over
+all. All that is interesting in it is the portrait of the saint, a copy
+of one in Madrid.</p>
+
+<p>The name of the Great Captain is associated with the Cartuja, or
+suppressed Carthusian monastery, the site of which was his gift. The
+monastery, begun in 1516, was pulled down in 1842. A small portion of
+the buildings, however, remains, together with the church. The single
+nave is disfigured by over-elaborate ornamentation<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> in the plateresque
+style. The doors of the choir are richly and tastefully inlaid with
+ebony and mother of pearl, cedar and tortoise-shell, and were the work
+of a friar, Manuel Vazquez, who died in 1765. The sanctuary, in the
+baroque style, is enriched with precious marbles, some richly veined
+with agates. On some of the slabs the hand of Nature has traced the
+semblances of human and animal forms. In the adjoining sacristy, various
+marbles have been combined so as to produce an effect dazzling and
+gorgeous in the extreme. The hall is certainly one of the most
+remarkable in Spain. Scarcely less marvellous are the exquisitely inlaid
+doors and presses. The generally bad style of the church is also
+redeemed by a statue of St. Bruno, the founder of the Carthusian Order,
+ascribed to Alonso Cano, and some pictures by Bocanegra, Giaquinto, and
+Cotán. The last named, a friar, was responsible for the pictures in the
+cloister, representing the martyrdom of Carthusian monks in London by
+the tyrant Henry VIII. and the brigands who acted as his officers.</p>
+
+<p>The Cartuja was formerly much richer in works of art, but, like San
+Jeronimo, it was ransacked by the French under Sebastiani, who
+exhibited, as on all occasions, the discrimination of a dilettante
+coupled with the rapacity of a bandit.<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p>
+
+<p>In front of the church of Santos Pedro y Pablo is a very handsome
+mansion built in 1539 for Hernando de Zafra, secretary of the Catholic
+sovereigns. The portal is in three stages: the first contains the
+entrance, a square doorway, between Doric columns; the second bears the
+escutcheons of the family, above them being sculptured griffins and
+lions; the third, a balcony between pilasters, carved in delicate
+relief. In a line with this is another balcony, bearing the curious
+inscription, <i>Esperandola del Cielo</i>&mdash;“Looking for it from Heaven.”
+These words are explained by a tragic legend. De Zafra is said to have
+suspected his daughter of a clandestine attachment. To satisfy his
+doubts, he burst into her room one day, and found her page assisting the
+lover to escape by the window. Baulked of his prey, the father turned,
+with death in his face, upon the boy. “Mercy!” shrieked the page. “Look
+for it in Heaven!” answered the Don, as he hurled his daughter’s
+accomplice from the balcony into the street below. So runs the legend.
+De Zafra does not appear, according to the records, to have left any
+children; but his daughter may not have survived the terrible
+consequences of her amour. “After all,” remarks Valladar, “nothing was
+easier in the sixteenth century than to throw a page out of the<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> window
+without attracting the attention of the police or magistrates.”</p>
+
+<p>Granada is by no means as rich in ancient churches and houses as
+Seville. The house of the Great Captain now forms part of the convent of
+Carmelite nuns. On the façade a tablet sets forth that “In this house
+lived, and on December 2, 1515, died, the Great Captain Don Gonzalo
+Fernandez de Aguilar y de Cordoba, Duke of Sessa, Terranova, and
+Santangelo, the Christian hero, and conqueror of the Moors, French, and
+Turks.”</p>
+
+<p>The early sixteenth-century Casa de los Tiros&mdash;the property, like the
+Generalife, of the Marques de Campotejar&mdash;seems to occupy the site, if
+it did not actually form part, of a Moorish fortified dwelling. Some
+think it was an advanced work of the fortifications known as the Torres
+Bermejas. The interior certainly shows Arabic influence. The staircase
+was probably built by Moors, and there are rich azulejos and a splendid
+<i>artesanado</i> hall. This is adorned with busts of various Spanish
+celebrities, with the graven heads of Moors and Christians, and with
+reliefs of Lucretia, Judith, Semiramis, and Penthesilea.</p>
+
+<p>In this house is preserved an Arabic sword with a magnificent hilt and
+scabbard, said to have belonged to Boabdil. The scabbard, at all events,
+is unquestionably of workmanship<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> posterior to the Reconquest; and it is
+well to be a little on one’s guard in the matter of the numerous relics
+ascribed to the last Moorish king.</p>
+
+<p>Of old Granada, in truth, not much more remains than the buildings we
+have already named. We may glance at the tower of San Juan de los Reyes,
+so badly restored that its peculiar Moorish architecture, more markedly
+Eastern than that of any other Grenadine monument, has been almost
+entirely effaced. And in the old Casa de Ayuntamiento there are some
+historical curiosities, notably the original draft of the charter
+granted to Granada by the Catholic sovereigns, and the handsome official
+shield of the city. Many sites, such as the Plaza de Bibarrambla,
+commemorated in the songs and stories of old Spain, have been completely
+modernised. But there is a monument&mdash;a simple column surmounted by an
+iron cross&mdash;more deeply interesting than any reared by the Moors. The
+inscription on the pedestal records that on this spot, on May 26, 1831,
+Doña Mariana Pineda was publicly garroted at the age of thirty-two
+years. She died a martyr for liberty and a victim of the strange
+absolutist frenzy which did much to ruin Spain in Ferdinand VII.’s
+reign. Doña Mariana’s house had been a centre for liberal gatherings,
+and when raided by the police<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> was found to contain a tricolour flag.
+She met her death with a courage worthy of her cause. Five years later,
+when the nation had recovered its sanity, her ashes were carried in
+state to the Ayuntamiento. The magistrate who had condemned her was in
+his turn executed. On the same site many Spanish patriots were shot by
+the French&mdash;their labour and their lives being given to replace
+Ferdinand VII. on the throne. The square, formerly called the Campillo,
+is now named after Mariana Pineda. You may see there her statue in
+marble, sculptured by Marna and Morales.</p>
+
+<p>The hill called the Sacro Monte is a curious memorial of human
+credulity. In 1594 one Francisco Hernandez reported to the Archbishop
+Don Pedro Vaca de Castro that he had discovered the relics of several
+local martyrs in the caves here. A church of no architectural merit was
+raised on the spot, and became a place of pilgrimage&mdash;the evidence that
+the martyrs referred to had ever existed being meanwhile wanting. Within
+the church are preserved some leaden books, inscribed in Arabic
+characters, and supposed to contain the acts, of the saints. These works
+were the subject of a furious controversy in the seventeenth century.
+The caves are interesting on account of their natural peculiarities, and
+were quite probably catacombs used by<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> the early Christians of
+Illiberis. Some rocks may be noticed, in parts worn away by the repeated
+kisses of devotees. There is a superstition that the person who kisses
+the stone the first time will marry within the year, and that a second
+kiss will ensure to those already married an early dissolution of the
+conjugal tie.</p>
+
+<p>On the opposite side of the city, also in the outskirts, is a little
+Mohammedan oratory, now disfigured and restored beyond recognition. It
+is called the Ermita de San Sebastian, and was the place where Boabdil
+gave up the keys of Granada to Ferdinand and Isabel.</p>
+
+<p>When we walk through the streets of the modern Granada, with its tawdry
+churches and commonplace private houses, it does not seem that the city
+has gained much by its change of masters. But its decline was not at
+least very marked till many years after the Reconquest. The French
+invasion, and still more the ruin of the silk industry, completely
+undermined the prosperity of the place. During the last century it lost
+its rank as the seat of a Captain General. But a new day is dawning for
+the proudest city of the Moor, as for all Spain. Granada is content no
+longer to brood over its splendid past; indeed, its citizens seem to
+prize but lightly the monuments of those days. There is a general
+appearance of wealth and elegance about the promenaders<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> on the broad,
+well-lighted paseos; and, thanks to the newly introduced manufacturing
+industry of beetroot sugar, the Vega has already resumed the flourishing
+smiling aspect it wore when a Mohammedan amir called it his and the cry
+of the muezzin was heard from a hundred minarets.<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p>
+
+<p><span class="pagenum"><a name="page_90" id="page_90">{90}</a></span></p>
+
+<h2><a name="PLAN_OF_GRANADA" id="PLAN_OF_GRANADA"></a>PLAN OF GRANADA</h2>
+<p class="c">REFERENCE TO PLAN OF GRANADA<br />
+<small>BUILDINGS AND PLACES</small></p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="">
+<tr><td class="rt">1.</td><td>Hospital of San Lázaro.</td></tr>
+<tr><td class="rt">2.</td><td> Church of San Juan de Letran.</td></tr>
+<tr><td class="rt">3.</td><td> Hermitage of Santo Cristo de Yedra.</td></tr>
+<tr><td class="rt">4.</td><td> San Bruno and the Cartuja.</td></tr>
+<tr><td class="rt">5.</td><td> The Sacro Monte.</td></tr>
+<tr><td class="rt">6.</td><td> The Holy Tomb.</td></tr>
+<tr><td class="rt">7.</td><td> Cavalry Barracks, and San Jerónimo.</td></tr>
+<tr><td class="rt">8.</td><td> San Juan de Dios.</td></tr>
+<tr><td class="rt">9.</td><td> San Juan de Dios (Street).</td></tr>
+<tr><td class="rt">10.</td><td> Lunatic Asylum.</td></tr>
+<tr><td class="rt">11.</td><td> Bull Ring. (Plaza de Toros.)</td></tr>
+<tr><td class="rt">12.</td><td> San Ildefonso, and Avenue del Triunfo.</td></tr>
+<tr><td class="rt">13.</td><td> Pay Office.</td></tr>
+<tr><td class="rt">14.</td><td> Gate of Elvira.</td></tr>
+<tr><td class="rt">15.</td><td> Gate of Monaita.</td></tr>
+<tr><td class="rt">16.</td><td> San Andrés.</td></tr>
+<tr><td class="rt">17.</td><td> Children’s Hospital.</td></tr>
+<tr><td class="rt">18.</td><td> Office for Civil Affairs.</td></tr>
+<tr><td class="rt">19.</td><td> Santos Justo and Pastor.</td></tr>
+<tr><td class="rt">20.</td><td> Institute of Music.</td></tr>
+<tr><td class="rt">21.</td><td> Botanical Garden and Nunnery of Piety.</td></tr>
+<tr><td class="rt">22.</td><td> Square of Rull and Godines.</td></tr>
+<tr><td class="rt">23.</td><td> Convent of the Incarnation.</td></tr>
+<tr><td class="rt">24.</td><td> Santa Paula.</td></tr>
+<tr><td class="rt">25.</td><td> Elvira (Street).</td></tr>
+<tr><td class="rt">26.</td><td> San Jerónimo.</td></tr>
+<tr><td class="rt">27.</td><td> Orlando’s Balcony.</td></tr>
+<tr><td class="rt">28.</td><td> San Diego.</td></tr>
+<tr><td class="rt">29.</td><td> San Gregorio.</td></tr>
+<tr><td class="rt">30.</td><td> San Luis.</td></tr>
+<tr><td class="rt">31.</td><td> Arab Ramparts.</td></tr>
+<tr><td class="rt">32.</td><td> San Miguel the Greater.</td></tr>
+<tr><td class="rt">33.</td><td> Gate of the Standards.</td></tr>
+<tr><td class="rt">34.</td><td> El Salvador.</td></tr>
+<tr><td class="rt">35.</td><td> San José.</td></tr>
+<tr><td class="rt">36.</td><td> Convent of the Angel.</td></tr>
+<tr><td class="rt">37.</td><td> Ecclesiastical College.</td></tr>
+<tr><td class="rt">38.</td><td> The Cathedral.</td></tr>
+<tr><td class="rt">39.</td><td>  High School and Palace of the Province of Granada.</td></tr>
+<tr><td class="rt">40.</td><td> School of Economics.</td></tr>
+<tr><td class="rt">41.</td><td> Market Place, and Palace of the Archbishop.</td></tr>
+<tr><td class="rt">42.</td><td> Court of First Instance (Plaza Rib-Rambla).</td></tr>
+<tr><td class="rt">43.</td><td> Convent of Augustines and La Magdalena.</td></tr>
+<tr><td class="rt">44.</td><td> House of Grace.</td></tr>
+<tr><td class="rt">45.</td><td> Puentezuelas (Bridge).</td></tr>
+<tr><td class="rt">46.</td><td> Square of Marshal Prim.</td></tr>
+<tr><td class="rt">47.</td><td> Town Hall.</td></tr>
+<tr><td class="rt">48.</td><td> Santa Teresa.</td></tr>
+<tr><td class="rt">49.</td><td> Convent of the Holy Spirit.</td></tr>
+<tr><td class="rt">50.</td><td> Military Office.</td></tr>
+<tr><td class="rt">51.</td><td> Carmelite Convent.</td></tr>
+<tr><td class="rt">52.</td><td> Hospital for Leprosy.</td></tr>
+<tr><td class="rt">53.</td><td> Santa Ana.</td></tr>
+<tr><td class="rt">54.</td><td> Santa Inés.</td></tr>
+<tr><td class="rt">55.</td><td> Convent of the Conception.</td></tr>
+<tr><td class="rt">56.</td><td>San Juan de los Reyes.</td></tr>
+<tr><td class="rt">57.</td><td>Ex-Convent of The Victory.</td></tr>
+<tr><td class="rt">58.</td><td>Watch-tower of the Alhambra (Torre de la Vela).</td></tr>
+<tr><td class="rt">59.</td><td>The Alhambra.</td></tr>
+<tr><td class="rt">60.</td><td>Gate of Las Granadas.</td></tr>
+<tr><td class="rt">61.</td><td>Gate of Judiciary Astrology (Judiciária).</td></tr>
+<tr><td class="rt">62.</td><td>The Generalife.</td></tr>
+<tr><td class="rt">63.</td><td>Gate of Hierro.</td></tr>
+<tr><td class="rt">64.</td><td>San Francisco (formerly Convent of St. Francis).</td></tr>
+<tr><td class="rt">65.</td><td>The Chair of the Moor (Silla del Moro).</td></tr>
+<tr><td class="rt">66.</td><td>The  Tower of the Seven Storeys (Alhambra).</td></tr>
+<tr><td class="rt">67.</td><td>The Fountain of Expiation.</td></tr>
+<tr><td class="rt">68.</td><td>Gate of the Sun.</td></tr>
+<tr><td class="rt">69.</td><td>Convent of Santa Catalina.</td></tr>
+<tr><td class="rt">70.</td><td>Ecce Homo.</td></tr>
+<tr><td class="rt">71.</td><td>San Cecilio, and Military Hospital.</td></tr>
+<tr><td class="rt">73.</td><td>Santa Escolástica.</td></tr>
+<tr><td class="rt">74.</td><td>Capuchin Convent and Santa Maria Egipciaca.</td></tr>
+<tr><td class="rt">75.</td><td>San Anton.</td></tr>
+<tr><td class="rt">76.</td><td>Gas Works.</td></tr>
+<tr><td class="rt">77.</td><td>Public Shambles.</td></tr>
+<tr><td class="rt">78.</td><td>San Sebastián and Avenue del Violón.</td></tr>
+<tr><td class="rt">79.</td><td>Las Angustias.</td></tr>
+<tr><td class="rt">80.</td><td>El Salon.</td></tr>
+<tr><td class="rt">81.</td><td>Convent of Santiago.</td></tr>
+<tr><td class="rt">82.</td><td>Museum of the Academy of Fine Arts.</td></tr>
+<tr><td class="rt">83.</td><td>Monument of Mariana.</td></tr>
+<tr><td class="rt">84.</td><td>Artillery Barracks.</td></tr>
+<tr><td class="rt">85.</td><td>Principal Theatre (Plaza de Bailén).</td></tr>
+<tr><td class="rt">86.</td><td>New Square.</td></tr>
+<tr><td class="rt">87.</td><td>Zacatín.</td></tr>
+<tr><td class="rt">88.</td><td>Fish Market.</td></tr>
+<tr><td class="rt">89.</td><td>Church of Santiago.</td></tr>
+<tr><td class="rt">90.</td><td>San Nicolás.</td></tr>
+<tr><td class="rt">91.</td><td>Convent of Tomasas.</td></tr>
+<tr><td class="rt">92.</td><td>Bermeja Towers.</td></tr>
+<tr><td class="rt">93.</td><td>Palace of Charles V.</td></tr>
+<tr><td class="rt">94.</td><td>Gate of the Mills.</td></tr>
+<tr><td class="rt">95.</td><td>San Basil.</td></tr>
+<tr><td class="rt">96.</td><td>Recreation Grounds.</td></tr>
+<tr><td class="rt">97.</td><td>Cemetery.</td></tr>
+<tr><td class="rt">98.</td><td>Convent of San Bernado and Church of San Pedro.</td></tr>
+<tr><td class="rt">99.</td><td>San Bartolomé.</td></tr>
+<tr><td class="rt">100.</td><td>Avenue of San Basil.</td></tr>
+<tr><td class="rt">101.</td><td>San Cristóbal.</td></tr>
+<tr><td class="rt">102.</td><td>Hospital of Corpus Christi.</td></tr>
+<tr><td class="rt">103.</td><td>Santa Isabel la Real, and San Miguel the Less.</td></tr>
+<tr><td class="rt">104.</td><td>Santa Maria (Ancient Mosque of the Alhambra).</td></tr>
+<tr><td class="rt">105.</td><td>San Matías.</td></tr>
+<tr><td class="rt">106.</td><td>Gate of Fajalanza.</td></tr>
+<tr><td class="rt">107.</td><td>Méndez Nuñez (Street).</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<div class="caption"><p><b><big>GRANADA</big></b></p></div>
+<a href="images/map.jpg">
+<img src="images/map.jpg" height="550" alt="[Image unavailable.]" /></a>
+
+</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>
+
+<div class="figcenter" style="width: 600px;" id="plt_001">
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 1</p>
+
+<p>VIEW OF GRANADA, SHOWING THE ALHAMBRA AND THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_002">
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 2</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_003">
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 3</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE SACROMONTE ROAD</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_004">
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 4</p>
+
+<p>THE ALHAMBRA FROM THE MOOR’S SEAT&mdash;LA SILLA DEL MORO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_005">
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 5</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_98" id="page_98">{98}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_006">
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 6</p>
+
+<p>VIEW OF THE GATE OF ELVIRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_007">
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 7</p>
+
+<p>A VIEW OF THE ALHAMBRA FROM THE ALBAICIN (<i>Sketch</i>)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_100" id="page_100">{100}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_008">
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 8</p>
+
+<p>VIEW OF THE CATHEDRAL AND THE ALHAMBRA FROM SAN GERÓNIMO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_009">
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 9</p>
+
+<p>VIEW OF THE SIERRA NEVADA FROM THE CARRERA DE LAS ANGUSTIAS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_010">
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 10</p>
+
+<p>VIEW OF THE ROYAL GATE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_011">
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 11</p>
+
+<p>VIEW FROM THE TOWER IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_012">
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 12</p>
+
+<p>LA PLAZA NUEVA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_013">
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 13</p>
+
+<p>MONUMENT TO COLUMBUS IN THE PASEO DEL SALON; THE SIERRA NEVADA IN THE
+DISTANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_014">
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 14</p>
+
+<p><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p>
+
+<p>THE STREET OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_015">
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 15</p>
+
+<p>ARAB SILK MARKET</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_016">
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 16</p>
+
+<p>LA CASA DE LOS TIROS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_017">
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 17</p>
+
+<p>CHURCH OF SANTA ANA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_018">
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 18</p>
+
+<p>LIMOGES ENAMEL TRIPTYCH WHICH BELONGED TO THE <span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>GRAN CAPITÁN (PROVINCIAL
+MUSEUM, GRANADA)</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_019">
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 19</p>
+
+<p>ALTAR IN THE CHURCH OF SAN GERÓNIMO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_020">
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 20</p>
+
+<p>HOUSE IN THE CALLE DE DARRO THE PALACIO DE JUSTICIA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_021">
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 21</p>
+
+<p>THE HOUSE OF CASTRIL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_022">
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 22</p>
+
+<p>TYPICAL GYPSIES AND THEIR QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_023">
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 23</p>
+
+<p>GYPSIES IN FRONT OF THEIR DWELLINGS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_024">
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 24</p>
+
+<p>GYPSY DWELLINGS IN THE SACROMONTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_025">
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 25</p>
+
+<p>GENERAL VIEW OF THE GYPSY QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_026">
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 26</p>
+
+<p>INTERIOR OF A GYPSY’S CAVE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_027">
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 27</p>
+
+<p>GROUP OF GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_028">
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 28</p>
+
+<p>A GYPSY FAMILY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_029">
+<a href="images/plt_029.jpg">
+<img src="images/plt_029.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 29</p>
+
+<p>GYPSIES BIVOUACKING</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_030">
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 30</p>
+
+<p>GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_031">
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 31</p>
+
+<p>GYPSIES CLIPPING A MULE</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_032">
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 32</p>
+
+<p>GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_033">
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 33</p>
+
+<p>GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_034">
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 34</p>
+
+<p>GYPSY DANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_035">
+<a href="images/plt_035.jpg">
+<img src="images/plt_035.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 35</p>
+
+<p>INTERIOR OF THE SACRISTY OF THE CARTUJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_036">
+<a href="images/plt_036.jpg">
+<img src="images/plt_036.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 36</p>
+
+<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<p>INTERIOR OF THE CARTUJA. THE SACRISTY</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_037">
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 37</p>
+
+<p>INTERIOR OF THE CARTUJA CHURCH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_038">
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 38</p>
+
+<p>SAINT BRUNO, BY ALONSO CANO, AT THE CARTHUSIAN MONASTERY OF GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_039">
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 39</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_040">
+<a href="images/plt_040.jpg">
+<img src="images/plt_040.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 40</p>
+
+<p>THE GATE OF PARDON AND THE EXTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_041">
+<a href="images/plt_041.jpg">
+<img src="images/plt_041.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 41</p>
+
+<p>FAÇADE OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_042">
+<a href="images/plt_042.jpg">
+<img src="images/plt_042.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 42</p>
+
+<p>EXTERIOR GATE OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_043">
+<a href="images/plt_043.jpg">
+<img src="images/plt_043.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 43</p>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<p>DETAIL IN THE ROYAL CHAPEL</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_044">
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 44</p>
+
+<p>ANCIENT GOTHIC ENTRANCE TO THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_045">
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 45</p>
+
+<p>GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL, UPPER PART</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_046">
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 46</p>
+
+<p>GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_047">
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 47</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p>
+
+<p>FAÇADE OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_048">
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 48</p>
+
+<p>GENERAL VIEW OF THE INTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_049">
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 49</p>
+
+<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_050">
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 50</p>
+
+<p>THE CATHEDRAL. VIEW OF THE PRINCIPAL NAVE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_051">
+<a href="images/plt_051.jpg">
+<img src="images/plt_051.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 51</p>
+
+<p>THE HIGH ALTAR IN THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_052">
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 52</p>
+
+<p>ALTAR-PIECE IN THE ROYAL CHAPEL, BY F. DE BORGOÑA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_053">
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 53</p>
+
+<p>THE CATHEDRAL. BOABDIL GIVING UP THE KEYS OF GRANADA TO THE CATHOLIC
+SOVEREIGNS. FRAGMENT OF THE ALTAR-PIECE IN THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_054">
+<a href="images/plt_054.jpg">
+<img src="images/plt_054.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 54</p>
+
+<p>THE INNER CHOIR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_055">
+<a href="images/plt_055.jpg">
+<img src="images/plt_055.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 55</p>
+
+<p>THE CATHEDRAL. TOMBS OF THE CATHOLIC SOVEREIGNS IN THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_056">
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 56</p>
+
+<p>VIEW OF THE ROYAL CHAPEL AND TOMBS OF THE CATHOLIC SOVEREIGNS, BY P.
+GONZALVO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_057">
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 57</p>
+
+<p>ROYAL CHAPEL. TOMBS OF FERDINAND AND ISABELLA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_058">
+<a href="images/plt_058.jpg">
+<img src="images/plt_058.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 58</p>
+
+<p>VAULT OF THE CATHOLIC SOVEREIGNS AT GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_059">
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 59</p>
+
+<p>TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_060">
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 60</p>
+
+<p>TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_061">
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 61</p>
+
+<p>SCEPTRE, CROWN, SWORD, MASS-BOOK, AND COFFER OF THE CATHOLIC
+SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_062">
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 62</p>
+
+<p>RELICS OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_063">
+<a href="images/plt_063.jpg">
+<img src="images/plt_063.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 63</p>
+
+<p>ROYAL CHAPEL. STATUE OF QUEEN ISABELLA THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_064">
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 64</p>
+
+<p>STATUE OF ISABELLA THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_065">
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 65</p>
+
+<p>CHAPEL OF SAN MIGUEL IN THE CATHEDRAL, MARBLE SCULPTURE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_066">
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 66</p>
+
+<p>Plan of the Alhambra Palace at Granada</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_067">
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 67</p>
+
+<p>GENERAL PLAN OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_068">
+<a href="images/plt_068.jpg">
+<img src="images/plt_068.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 68</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_069">
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 69</p>
+
+<p>THE RED TOWERS FROM THE RAMPARTS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_070">
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 70</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE SACROMONTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_071">
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 71</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA AND ALGIBILLO PROMENADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_072">
+<a href="images/plt_072.jpg">
+<img src="images/plt_072.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 72</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE CUESTA DEL CHAPIZ</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_073">
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 73</p>
+
+<p>THE RED TOWERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_074">
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 74</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_075">
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 75</p>
+
+<p>THE TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_076">
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 76</p>
+
+<p>THE INFANTAS’ TOWER AND CAPTIVE’S TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_077">
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 77</p>
+
+<p>VIEW OF THE WATCH TOWER AND GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_078">
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 78</p>
+
+<p>VIEW OF THE RAMPARTS AND THE WATCH TOWER.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a> </span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_079">
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 79</p>
+
+<p>THE AQUEDUCT TOWER AND THE AQUEDUCT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_080">
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 80</p>
+
+<p>THE GATE OF JUSTICE. DETAIL OF A DOOR IN THE COURT OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_081">
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 81</p>
+
+<p>THE ALHAMBRA AND THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_082">
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 82</p>
+
+<p>GRANADA, FROM THE HOMAGE TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_083">
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 83</p>
+
+<p>“THE QUEEN’S DRESSING-ROOM,” AT THE SUMMIT OF THE MIHRAB TOWER, WITH
+DISTANT VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_084">
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 84</p>
+
+<p>THE GATE OF JUSTICE, ERECTED BY YUSUF I</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_085">
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 85</p>
+
+<p>THE TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_086">
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 86</p>
+
+<p>THE CAPTIVE’S TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_087">
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 87</p>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<p>EXTERIOR OF THE MOSQUE, PRIVATE PROPERTY</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_088">
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 88</p>
+
+<p>TOWER OF THE AQUEDUCT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_089">
+<a href="images/plt_089.jpg">
+<img src="images/plt_089.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 89</p>
+
+<p>ASCENT TO THE ALHAMBRA BY THE CUESTA DEL REY CHICO&mdash;LESSER KING HILL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_090">
+<a href="images/plt_090.jpg">
+<img src="images/plt_090.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 90</p>
+
+<p>THE LADIES’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_091">
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 91</p>
+
+<p>PART OF THE ALHAMBRA, EXTERIOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_092">
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 92</p>
+
+<p>THE HOMAGE TOWER. ANCIENT ARAB RUINS IN THE ALCAZÁBA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_093">
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 93</p>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<p>GATE OF JUSTICE. THE ALHAMBRA</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_094">
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 94</p>
+
+<p>GATE OF JUSTICE (<i>Sketch</i>)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_095">
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 95</p>
+
+<p>THE GATE OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_096">
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 96</p>
+
+<p>PLAN, HEIGHT AND DETAILS OF THE GATE OF THE LAW COMMONLY CALLED OF
+JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_097">
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 97</p>
+
+<p>ELEVATION OF THE ANCIENT GATE OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_098">
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 98</p>
+
+<p>PORTAL COMMONLY CALLED THE GATE OF THE VINE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_099">
+<a href="images/plt_099.jpg">
+<img src="images/plt_099.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 99</p>
+
+<p>PORCH OF THE GATE OF JUDGMENT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_100">
+<a href="images/plt_100.jpg">
+<img src="images/plt_100.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 100</p>
+
+<p>ELEVATION OF THE WINE GATE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_101">
+<a href="images/plt_101.jpg">
+<img src="images/plt_101.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 101</p>
+
+<p>TRANSVERSE SECTION OF PART OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_102">
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 102</p>
+
+<p>SECTION SHOWING</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_103">
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 103</p>
+
+<p>HEIGHTS OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_104">
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 104</p>
+
+<p>PROMENADES AT THE ENTRANCE TO ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_105">
+<a href="images/plt_105.jpg">
+<img src="images/plt_105.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 105</p>
+
+<p>THE HALL OF JUSTICE AND COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_106">
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 106</p>
+
+<p>HALL OF JUSTICE. LEFT SIDE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_107">
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 107</p>
+
+<p>HALL OF JUSTICE, SHOWING FOUNTAIN OF COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_108">
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 108</p>
+
+<p>SECTION OF THE HALL OF JUSTICE (LOOKING EAST)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_109">
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 109</p>
+
+<p>SECTION OF THE HALL OF JUSTICE (LOOKING TOWARDS THE COURT OF THE
+LIONS)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_110">
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 110</p>
+
+<p>VERTICAL SECTION OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_111">
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 111</p>
+
+<p>DETAILS OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_112">
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 112</p>
+
+<p>PLAN AND WINDOW OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_113">
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 113</p>
+
+<p>PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 1</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_114">
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 114</p>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<p>PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 3</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_115">
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 115</p>
+
+<p>PART OF PICTURE IN THE HALL OF JUSTICE&mdash;THE MOOR’S RETURN FROM HUNTING</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_116">
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 116</p>
+
+<p>HALL OF JUSTICE&mdash;THE DEATH OF THE LION AT THE HANDS OF A CHRISTIAN
+KNIGHT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_117">
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 117</p>
+
+<p>PART OF PICTURE IN THE HALL OF JUSTICE REPRESENTING A CHRISTIAN KNIGHT
+RESCUING A MAIDEN FROM A WICKED MAGICIAN, OR WILD-MAN-O’-THE-WOODS. THE
+CHRISTIAN <span class="pagenum"><a name="page_210" id="page_210">{210}</a></span>KNIGHT IS, IN TURN, SLAIN BY A MOORISH WARRIOR</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_118">
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 118</p>
+
+<p>PART OF PICTURE IN HALL OF JUSTICE&mdash;MOORISH HUNTSMAN SLAYING THE WILD
+BOAR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_119">
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 119</p>
+
+<p>HALL OF JUSTICE&mdash;THREE FIGURES FROM THE PICTURE OF THE MOORISH
+TRIBUNAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_120">
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 120</p>
+
+<p>THE MOSQUE AND GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_121">
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 121</p>
+
+<p>COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_122">
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 122</p>
+
+<p>FAÇADE OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_123">
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 123</p>
+
+<p>INTERIOR OF THE MOSQUE IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_124">
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 124</p>
+
+<p>INTERIOR OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_125">
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 125</p>
+
+<p>ELEVATION OF THE PORTICO ADJACENT TO THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_126">
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 126</p>
+
+<p>DETAIL OF THE ENTRANCE DOOR OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_127">
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 127</p>
+
+<p>AN ARCHED WINDOW OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_128">
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 128</p>
+
+<p>AN ARCHED WINDOW OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_129">
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 129</p>
+
+<p>THE KORAN RECESS IN THE MOSQUE, THE SCENE OF YUSUF’S ASSASSINATION</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_130">
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 130</p>
+
+<p>THE MOSQUE FROM KORAN RECESS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_131">
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 131</p>
+
+<p>DETAILS OF ORNAMENT OF KORAN RECESS NEAR THE ENTRANCE DOOR OF THE
+MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_132">
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 132</p>
+
+<p>CORNICE AND WINDOW IN THE FAÇADE OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_133">
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 133</p>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<p>VERTICAL SECTION OF THE MOSQUE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_134">
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 134</p>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<p>ARAB LAMP IN MOSQUE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_135">
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 135</p>
+
+<p>DETAILS OF THE FRONT OF THE MOSQUE OF THE HAREM</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_136">
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 136</p>
+
+<p>DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_137">
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 137</p>
+
+<p>DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_138">
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 138</p>
+
+<p>ORNAMENT IN PANELS, COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_139">
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 139</p>
+
+<p>WINDOW IN THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_140">
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 140</p>
+
+<p>ENTRANCE TO THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_141">
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 141</p>
+
+<p>HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_142">
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 142</p>
+
+<p>SECTION AND ELEVATION OF THE INTERIOR OF THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_143">
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 143</p>
+
+<p>ENCAUSTIC-TILE WORK OF THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_144">
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 144</p>
+
+<p>ORNAMENT IN PANELS, HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_145">
+<a href="images/plt_145.jpg">
+<img src="images/plt_145.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 145</p>
+
+<p>INSCRIPTIONS IN THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_146">
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 146</p>
+
+<p>KUFIC INSCRIPTIONS, HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_147">
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 147</p>
+
+<p>“WA LA GHÁLIB ILA ALÁ!”&mdash;THERE IS NO CONQUEROR BUT GOD!&mdash;THE FAMOUS
+MOTTO OF MOHAMMED I. AND HIS SUCCESSORS. AN EXAMPLE FROM THE HALL OF
+AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_148">
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 148</p>
+
+<p>THE COURT OF THE LIONS FROM THE TEMPLETE POMIENTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_149">
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 149</p>
+
+<p>ENTRANCE TO THE COURT OF THE LIONS THROUGH THE POMIENTE CORNER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_150">
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 150</p>
+
+<p>NORTH GALLERY AND FAÇADE OF THE HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_151">
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 151</p>
+
+<p>THE COURT OF THE LIONS FROM THE POMIENTE CORNER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_152">
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 152</p>
+
+<p>VIEW IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_153">
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 153</p>
+
+<p>VIEW IN THE COURT OF THE LIONS FROM THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_154">
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 154</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_155">
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 155</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_156">
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 156</p>
+
+<p>COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_157">
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 157</p>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<p>NORTH GALLERY IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_158">
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 158</p>
+
+<p>SECTION, COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_159">
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 159</p>
+
+<p>PAVILION IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_160">
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 160</p>
+
+<p>FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_161">
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 161</p>
+
+<p>HALL OF JUSTICE AND COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_162">
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 162</p>
+
+<p>ANGLE IN THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_163">
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 163</p>
+
+<p>HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_164">
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 164</p>
+
+<p>CEILING OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_165">
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 165</p>
+
+<p>THE MOSQUE, AND VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_166">
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 166</p>
+
+<p>EXTERIOR OF A WINDOW IN THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_167">
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 167</p>
+
+<p>THE MOSQUE, AND VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_168">
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 168</p>
+
+<p>INTERIOR OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_169">
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 169</p>
+
+<p>COURT OF THE MOSQUE, WEST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_170">
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 170</p>
+
+<p>INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_171">
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 171</p>
+
+<p>INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_172">
+<a href="images/plt_172.jpg">
+<img src="images/plt_172.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 172</p>
+
+<p>JALOUSIES IN THE COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_173">
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 173</p>
+
+<p>ENTRANCE TO THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_174">
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 174</p>
+
+<p>BALCONY IN THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_175">
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 175</p>
+
+<p>DETAIL OF THE HALL OF THE ARCHED WINDOWS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_176">
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 176</p>
+
+<p>DETAIL IN THE HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_177">
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 177</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_178">
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 178</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_179">
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 179</p>
+
+<p>THE FOUNTAIN AND WEST TEMPLE OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_180">
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 180</p>
+
+<p>ELEVATION OF THE FOUNTAIN OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_181">
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 181</p>
+
+<p>THE FOUNTAIN OF THE COURT OF THE LIONS, WITH DETAILS OF THE ORNAMENT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_182">
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 182</p>
+
+<p>PLAN OF THE BASIN OF THE FOUNTAIN IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_183">
+<a href="images/plt_183.jpg">
+<img src="images/plt_183.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 183</p>
+
+<p>SECTION OF THE PAVILION IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_184">
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 184</p>
+
+<p>SECTION OF THE HALL OF THE TWO SISTERS, AND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_185">
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 185</p>
+
+<p>SECTION OF PART OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_186">
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 186</p>
+
+<p>CAPITAL IN THE COURT OF THE LIONS, WITH A SCALE OF ONE METRE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_187">
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 187</p>
+
+<p>DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_188">
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 188</p>
+
+<p>FRIEZE OVER COLUMNS, COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_189">
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 189</p>
+
+<p>DETAIL OF THE CENTRAL ARCH IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_190">
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 190</p>
+
+<p>THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN
+OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_191">
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 191</p>
+
+<p>ENTABLATURE IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_192">
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 192</p>
+
+<p>CUPOLA OF THE PAVILION IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_193">
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 193</p>
+<table>
+<tr valign="top"><td>
+<p>ENTRANCE TO THE COURT OF THE LIONS</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>LITTLE TEMPLE, THE COURT OF THE LIONS</p></td></tr>
+</table></div>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_194">
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 194</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_195">
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 195</p>
+<table>
+<tr valign="top"><td>
+<p>THE LITTLE TEMPLE</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>THE FOUNTAIN</p></td></tr>
+<tr><td colspan="3" class="c"><p>THE COURT OF THE LIONS</p></td></tr>
+</table></div>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_196">
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 196</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_197">
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 197</p>
+
+<p>THE COURT OF THE LIONS, WEST ANGLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_198">
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 198</p>
+
+<p>MOROCCO EMBASSY, DECEMBER, 1885</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_199">
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 199</p>
+
+<p>THE COURT OF THE LIONS FROM THE WEST TEMPLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_200">
+<a href="images/plt_200.jpg">
+<img src="images/plt_200.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 200</p>
+
+<p>THE COURT OF THE LIONS FROM THE WEST TEMPLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_201">
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 201</p>
+
+<p>WEST GALLERY IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_202">
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 202</p>
+
+<p>THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_203">
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 203</p>
+
+<p>THE COURT OF THE LIONS, LEFT-HAND ANGLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_204">
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 204</p>
+
+<p>THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_205">
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 205</p>
+
+<p>THE COURT OF THE LIONS FROM THE ENTRANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_206">
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 206</p>
+
+<p>DETAIL OF THE ENTRANCE TO THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_207">
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 207</p>
+
+<p>DETAIL IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_208">
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 208</p>
+<table>
+<tr valign="top"><td>
+<p>MOSAICS, NORTH SIDE</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>MOSAICS, SOUTH SIDE</p>
+</td></tr>
+<tr><td colspan="3" class="c"><p>THE COURT OF THE LIONS</p></td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_209">
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 209</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_210">
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 210</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_211">
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 211</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_212">
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 212</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_213">
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 213</p>
+
+<p>WOODEN DOORS, HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_214">
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 214</p>
+
+<p>GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_215">
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 215</p>
+
+<p>COURT OF THE MYRTLES; OR, OF THE FISH-POND. FAÇADE OF THE HALL OF
+AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_216">
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 216</p>
+
+<p>COURT OF THE MYRTLES; OR, OF THE FISH-POND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_217">
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 217</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE MYRTLES; OR, OF THE FISH-POND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_218">
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 218</p>
+
+<p>NORTH SIDE OF THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_219">
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 219</p>
+
+<p>ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_220">
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 220</p>
+
+<p>GALLERY IN THE COURT OF THE MYRTLES; OR, OF THE FISH-POND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_221">
+<a href="images/plt_221.jpg">
+<img src="images/plt_221.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 221</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE MYRTLES AND COMARES TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_222">
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 212</p>
+
+<p>COURT OF THE MYRTLES, EAST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_223">
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 223</p>
+
+<p>DETAIL IN THE COURT OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_224">
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 224</p>
+
+<p>COURT OF THE MYRTLES, EAST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_225">
+<a href="images/plt_225.jpg">
+<img src="images/plt_225.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 225</p>
+
+<p>EXTERIOR OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE
+MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_226">
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 226</p>
+
+<p>THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_227">
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 227</p>
+
+<p>ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_228">
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 228</p>
+
+<p>COURT OF THE MYRTLES; OR, OF THE FISH-POND FORMED BY YUSÚF I.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_229">
+<a href="images/plt_229.jpg">
+<img src="images/plt_229.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 229</p>
+<table>
+<tr valign="top"><td>
+<p>THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p>
+</td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_230">
+<a href="images/plt_230.jpg">
+<img src="images/plt_230.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 230</p>
+
+<p>THE HALL OF THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_231">
+<a href="images/plt_231.jpg">
+<img src="images/plt_231.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 231</p>
+
+<p>THE SULTAN’S BATH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_232">
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 232</p>
+
+<p>THE SULTANA’S BATH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_233">
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 233</p>
+
+<p>THE BATHS, HALL OF REPOSE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_234">
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 234</p>
+
+<p>CHAMBER OF REPOSE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_235">
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 235</p>
+
+<p>SECTION OF THE HALL OF THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_236">
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 236</p>
+
+<p>LONGITUDINAL SECTION THROUGH THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_237">
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 237</p>
+
+<p>GROUND PLAN OF THE BATHS IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_238">
+<a href="images/plt_238.jpg">
+<img src="images/plt_238.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 238</p>
+
+<p>CEILING OF THE HALL OF THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_239">
+<a href="images/plt_239.jpg">
+<img src="images/plt_239.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 239</p>
+
+<p>PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_240">
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 240</p>
+
+<p>A SECTION OF THE BATHS IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_241">
+<a href="images/plt_241-a.jpg">
+<img src="images/plt_241-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 241</p>
+
+<p>CHAMBER OF REPOSE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_241-b.jpg">
+<img src="images/plt_241-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SULTAN’S BATH CONSTRUCTED BY YUSÚF I.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_242">
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 242</p>
+
+<p>INTERIOR OF THE INFANTAS’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_243">
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 243</p>
+
+<p>SECTIONS OF THE INFANTAS’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_244">
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 244</p>
+
+<p>INTERIOR OF THE TOWER OF THE INFANTAS, UPPER PART</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_245">
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 245</p>
+
+<p>BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE VEGA, OR
+PLAIN, OF GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_246">
+<a href="images/plt_246.jpg">
+<img src="images/plt_246.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 246</p>
+
+<p>ALCOVE OF THE “CAPTIVE” (ISABEL DE SOLIS)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_247">
+<a href="images/plt_247.jpg">
+<img src="images/plt_247.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 247</p>
+
+<p>INTERIOR OF THE TOWER OF THE “CAPTIVE” (ISABEL DE SOLIS)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_248">
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 248</p>
+
+<p>THE “CAPTIVE’S” TOWER FROM THE ENTRANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_249">
+<a href="images/plt_249-a.jpg">
+<img src="images/plt_249-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 249</p>
+
+<p>INTERIOR OF THE MOSQUE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_249-b.jpg">
+<img src="images/plt_249-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>ROOM IN THE “CAPTIVE’S” TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_250">
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 250</p>
+<table>
+<tr><td><p>HALL OF JUSTICE</p></td>
+<td class="spc">&nbsp; </td>
+<td><p>BATHS, THE CHAMBER OF REPOSE</p></td></tr>
+</table></div>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_251">
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 251</p>
+
+<p>BALCONY OF THE FAVOURITE, “LINDARAJA”</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_252">
+<a href="images/plt_252.jpg">
+<img src="images/plt_252.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 252</p>
+
+<p>ALCOVE IN THE “LINDARAJA” APARTMENTS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_253">
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 253</p>
+
+<p>GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID TO HAVE
+BEEN OCCUPIED BY “LINDARAJA” A FAVOURITE SULTANA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_254">
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 254</p>
+
+<p>DETAIL, INTERIOR OF THE BALCONY OF “LINDARAJA”</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_255">
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 255</p>
+
+<p>DETAIL, LOWER PART OF THE BALCONY OF “LINDARAJA<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_256">
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 256</p>
+
+<p>DETAIL OF THE CENTRAL PART OF THE BALCONY OF “LINDARAJA<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_257">
+<a href="images/plt_257.jpg">
+<img src="images/plt_257.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 257</p>
+
+<p>THE QUEEN’S BOUDOIR AND DISTANT VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_258">
+<a href="images/plt_258.jpg">
+<img src="images/plt_258.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 258</p>
+
+<p>THE QUEEN’S BOUDOIR AND VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_259">
+<a href="images/plt_259.jpg">
+<img src="images/plt_259.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 259</p>
+
+<p>THE QUEEN’S BOUDOIR AND OLD ALBAICIN QUARTER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_260">
+<a href="images/plt_260.jpg">
+<img src="images/plt_260.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 260</p>
+
+<p>THE QUEEN’S BOUDOIR AND DEFILE OF THE DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_261">
+<a href="images/plt_261.jpg">
+<img src="images/plt_261.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 261</p>
+
+<p>LINDARAJA’S GARDEN AND THE APARTMENTS IN WHICH WASHINGTON IRVING
+STAYED</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_262">
+<a href="images/plt_262.jpg">
+<img src="images/plt_262.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 262</p>
+
+<p>ANGLE OF THE BALCONY OF LINDARAJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_263">
+<a href="images/plt_263.jpg">
+<img src="images/plt_263.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 263</p>
+
+<p>BALCONY OF THE FAVOURITE LINDARAJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_264">
+<a href="images/plt_264.jpg">
+<img src="images/plt_264.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 264</p>
+
+<p>INTERIOR OF THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_265">
+<a href="images/plt_265.jpg">
+<img src="images/plt_265.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 265</p>
+
+<p>EXTERIOR OF THE CAPTIVE’S TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_266">
+<a href="images/plt_266.jpg">
+<img src="images/plt_266.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 266</p>
+
+<p>THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_267">
+<a href="images/plt_267.jpg">
+<img src="images/plt_267.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 267</p>
+
+<p>INTERIOR OF THE INFANTAS’ TOWER, UPPER PART</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_268">
+<a href="images/plt_268.jpg">
+<img src="images/plt_268.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 268</p>
+
+<p>INTERIOR OF THE INFANTAS’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_269">
+<a href="images/plt_269.jpg">
+<img src="images/plt_269.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 269</p>
+
+<p>DETAIL OF THE UPPER PART OF THE BALCONY OF LINDARAJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_270">
+<a href="images/plt_270.jpg">
+<img src="images/plt_270.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 270</p>
+
+<p>HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_271">
+<a href="images/plt_271.jpg">
+<img src="images/plt_271.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 271</p>
+
+<p>ENTRANCE TO THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_272">
+<a href="images/plt_272.jpg">
+<img src="images/plt_272.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 272</p>
+
+<p>INTERIOR OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_273">
+<a href="images/plt_273.jpg">
+<img src="images/plt_273.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 273</p>
+
+<p>HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_274">
+<a href="images/plt_274.jpg">
+<img src="images/plt_274.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 274</p>
+
+<p>HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_275">
+<a href="images/plt_275.jpg">
+<img src="images/plt_275.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 275</p>
+
+<p>TEMPLE AND FAÇADE OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_276">
+<a href="images/plt_276.jpg">
+<img src="images/plt_276.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 276</p>
+
+<p>VIEW IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_277">
+<a href="images/plt_277.jpg">
+<img src="images/plt_277.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 277</p>
+
+<p>HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY YÚSUF I.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_278">
+<a href="images/plt_278.jpg">
+<img src="images/plt_278.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 278</p>
+
+<p>UPPER BALCONY OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_279">
+<a href="images/plt_279.jpg">
+<img src="images/plt_279.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 279</p>
+
+<p>HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_280">
+<a href="images/plt_280.jpg">
+<img src="images/plt_280.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 280</p>
+
+<p>CEILING OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_281">
+<a href="images/plt_281.jpg">
+<img src="images/plt_281.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 281</p>
+
+<p>DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_282">
+<a href="images/plt_282.jpg">
+<img src="images/plt_282.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 282</p>
+
+<p>DETAIL OF THE LATERAL WINDOWS OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_283">
+<a href="images/plt_283.jpg">
+<img src="images/plt_283.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 283</p>
+
+<p>DETAIL IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_284">
+<a href="images/plt_284.jpg">
+<img src="images/plt_284.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 284</p>
+
+<p>PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_285">
+<a href="images/plt_285.jpg">
+<img src="images/plt_285.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 285</p>
+
+<p>INSCRIPTION IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_378" id="page_378">{378}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_286">
+<a href="images/plt_286.jpg">
+<img src="images/plt_286.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 286</p>
+
+<p>FRIEZE IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_287">
+<a href="images/plt_287.jpg">
+<img src="images/plt_287.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 287</p>
+
+<p>PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_288">
+<a href="images/plt_288.jpg">
+<img src="images/plt_288.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 288</p>
+
+<p>DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_289">
+<a href="images/plt_289.jpg">
+<img src="images/plt_289.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 289</p>
+
+<p>BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_290">
+<a href="images/plt_290-a.jpg">
+<img src="images/plt_290-a.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 290</p>
+
+<p>MOSAIC IN DADO OF RECESS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_290-b.jpg">
+<img src="images/plt_290-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>MOSAIC IN DADO OF THE ENTRANCE TO<br /> THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_291">
+<a href="images/plt_291-a.jpg">
+<img src="images/plt_291-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 291</p>
+
+<p>MOSAIC IN DADO OF HALL OF AMBASSADORS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_291-b.jpg">
+<img src="images/plt_291-b.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>MOSAIC IN DADO OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_384" id="page_384">{384}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_292">
+<a href="images/plt_292.jpg">
+<img src="images/plt_292.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 292</p>
+
+<p>WINE GATE. WEST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_293">
+<a href="images/plt_293.jpg">
+<img src="images/plt_293.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 293</p>
+
+<p>DETAIL OF THE ONLY ANCIENT “JALOUSIE” REMAINING IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_294">
+<a href="images/plt_294.jpg">
+<img src="images/plt_294.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 294</p>
+
+<p>EL JARRO. ARAB VASE NOW IN THE MUSEUM OF THE PALACE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_295">
+<a href="images/plt_295.jpg">
+<img src="images/plt_295.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 295</p>
+
+<p>EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF
+THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM
+OF THE PALACE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_388" id="page_388">{388}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_296">
+<a href="images/plt_296.jpg">
+<img src="images/plt_296.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 296</p>
+
+<p>AN ARAB VASE OF THE FOURTEENTH CENTURY IN THE NICHE WHEREIN IT STOOD
+UNTIL THE YEAR 1837</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_297">
+<a href="images/plt_297.jpg">
+<img src="images/plt_297.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 297</p>
+
+<p>SWORD OF THE LAST MOORISH KING OF GRANADA, COMMONLY CALLED “THE SWORD OF
+BOABDIL<span class="pagenum"><a name="page_390" id="page_390">{390}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_298">
+<a href="images/plt_298.jpg">
+<img src="images/plt_298.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 298</p>
+
+<p>THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY
+2, 1492</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_391" id="page_391">{391}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_299">
+<a href="images/plt_299.jpg">
+<img src="images/plt_299.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 299</p>
+
+<p>GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE
+ALHAMBRA, WHO REIGNED 1232-1272 A.D.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_300">
+<a href="images/plt_300.jpg">
+<img src="images/plt_300.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 300</p>
+
+<p>DETAILS AND INSCRIPTIONS, AND ARABIAN CAPITALS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_301">
+<a href="images/plt_301.jpg">
+<img src="images/plt_301.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 301</p>
+
+<p>THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA,
+TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_394" id="page_394">{394}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_302">
+<a href="images/plt_302-a.jpg">
+<img src="images/plt_302-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 302</p>
+
+<p>MOSAIC PAVEMENT IN THE QUEEN’S DRESSING<br /> ROOM (TOCADOR DE LA REYNA)</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_302-b.jpg">
+<img src="images/plt_302-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_303">
+<a href="images/plt_303.jpg">
+<img src="images/plt_303.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 303</p>
+
+<p>THE HOUSE OF CARBON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_304">
+<a href="images/plt_304.jpg">
+<img src="images/plt_304.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 304</p>
+
+<p>THE ANCIENT GRANARY MARKET AND HOUSE OF CARBON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_305">
+<a href="images/plt_305.jpg">
+<img src="images/plt_305.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 305</p>
+
+<p>ELEVATION OF THE CASA DEL CARBON, OR HOUSE OF CARBON, ONCE KNOWN AS THE
+HOUSE OF THE WEATHERCOCK</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_306">
+<a href="images/plt_306.jpg">
+<img src="images/plt_306.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 306</p>
+
+<p>COURTYARD OF A MOORISH HOUSE IN THE ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_307">
+<a href="images/plt_307.jpg">
+<img src="images/plt_307.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 307</p>
+
+<p>INTERIOR OF AN ARAB HOUSE IN THE ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_308">
+<a href="images/plt_308.jpg">
+<img src="images/plt_308.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 308</p>
+
+<p>THE PROCLAMATION OF BOABDIL. BY PLÁCIDO FRANCES</p>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<p>(NATIONAL EXHIBITION OF BEAUX ARTS, 1884)</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_309">
+<a href="images/plt_309.jpg">
+<img src="images/plt_309.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 309</p>
+
+<p>THE AUTHOR IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_310">
+<a href="images/plt_310.jpg">
+<img src="images/plt_310.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 310</p>
+
+<p>CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA. THE SPLENDID CORNICE AT
+THE RIGHT-HAND TOP CORNER IS FROM THE LOGGIA OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_311">
+<a href="images/plt_311.jpg">
+<img src="images/plt_311.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 311</p>
+
+<p>MISCELLANEOUS ORNAMENT IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_312">
+<a href="images/plt_312.jpg">
+<img src="images/plt_312.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 312</p>
+
+<p>THE FABLE OF JUPITER AND LEDA IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_313">
+<a href="images/plt_313.jpg">
+<img src="images/plt_313.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 313</p>
+
+<p>BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_314">
+<a href="images/plt_314.jpg">
+<img src="images/plt_314.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 314</p>
+
+<p>ARABIAN SWORD</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_315">
+<a href="images/plt_315.jpg">
+<img src="images/plt_315.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 315</p>
+
+<p>CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_408" id="page_408">{408}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_316">
+<a href="images/plt_316.jpg">
+<img src="images/plt_316.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 316</p>
+
+<p>ENCAUSTIC-TILE WORK IN THE ROYAL ROOM OF SANTO DOMINGO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_317">
+<a href="images/plt_317.jpg">
+<img src="images/plt_317.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 317</p>
+
+<p>VARIOUS MOSAICS FROM THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_318">
+<a href="images/plt_318.jpg">
+<img src="images/plt_318.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 318</p>
+
+<p>INSCRIPTIONS IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_319">
+<a href="images/plt_319.jpg">
+<img src="images/plt_319.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 319</p>
+
+<p>PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE
+ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_412" id="page_412">{412}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_320">
+<a href="images/plt_320.jpg">
+<img src="images/plt_320.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 320</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_321">
+<a href="images/plt_321.jpg">
+<img src="images/plt_321.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 321</p>
+
+<p>ANCIENT CISTERN. EARLY FOURTEENTH CENTURY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_322">
+<a href="images/plt_322.jpg">
+<img src="images/plt_322.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 322</p>
+
+<p>THE ALHAMBRA</p>
+
+<p><i>Specially drawn for The Spanish Series</i></p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_323">
+<a href="images/plt_323.jpg">
+<img src="images/plt_323.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 323</p>
+
+<p>PART OF EXTERIOR OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_416" id="page_416">{416}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_324">
+<a href="images/plt_324.jpg">
+<img src="images/plt_324.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 324</p>
+
+<p>ELEVATION OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_417" id="page_417">{417}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_325">
+<a href="images/plt_325.jpg">
+<img src="images/plt_325.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 325</p>
+
+<p>SECTION OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_326">
+<a href="images/plt_326.jpg">
+<img src="images/plt_326.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 326</p>
+
+<p>FOUNTAIN OF THE EMPEROR CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_419" id="page_419">{419}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_327">
+<a href="images/plt_327.jpg">
+<img src="images/plt_327.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 327</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_328">
+<a href="images/plt_328.jpg">
+<img src="images/plt_328.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 328</p>
+
+<p>INTERIOR OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_329">
+<a href="images/plt_329.jpg">
+<img src="images/plt_329.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 329</p>
+
+<p>DOORWAY OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_422" id="page_422">{422}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_330">
+<a href="images/plt_330.jpg">
+<img src="images/plt_330.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 330</p>
+
+<p>BAS-RELIEF IN THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_331">
+<a href="images/plt_331.jpg">
+<img src="images/plt_331.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 331</p>
+
+<p>PORCH OF THE PALACE OF CHARLES V. FROM THE WEST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_332">
+<a href="images/plt_332.jpg">
+<img src="images/plt_332.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 332</p>
+
+<p>ROMAN COURT, PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_333">
+<a href="images/plt_333.jpg">
+<img src="images/plt_333.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 333</p>
+
+<p>GROUND PLAN OF THE GENERALIFE AT GRANADA</p>
+
+<p style="text-align:left;">
+A. Advanced parts<br />
+B. The Inner Gallery, commanding a view of the Gardens<br />
+C, C, C, C. Terraces and Aqueducts<br />
+D, D, D, E, E. The surrounding country<br />
+</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_426" id="page_426">{426}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_334">
+<a href="images/plt_334.jpg">
+<img src="images/plt_334.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 334</p>
+
+<p>THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_335">
+<a href="images/plt_335.jpg">
+<img src="images/plt_335.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 335</p>
+
+<p>THE PRINCIPAL COURT OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_336">
+<a href="images/plt_336.jpg">
+<img src="images/plt_336.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 336</p>
+
+<p>THE COURT OF THE FISH POND IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_337">
+<a href="images/plt_337.jpg">
+<img src="images/plt_337.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 337</p>
+
+<p>PROMENADES AND GARDENS OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_338">
+<a href="images/plt_338.jpg">
+<img src="images/plt_338.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 338</p>
+
+<p>THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_339">
+<a href="images/plt_339.jpg">
+<img src="images/plt_339.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 339</p>
+
+<p>FRONT VIEW OF THE PORTICO OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_432" id="page_432">{432}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_340">
+<a href="images/plt_340.jpg">
+<img src="images/plt_340.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 340</p>
+
+<p>TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_341">
+<a href="images/plt_341.jpg">
+<img src="images/plt_341.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 341</p>
+
+<p>GALLERY IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_342">
+<a href="images/plt_342.jpg">
+<img src="images/plt_342.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 342</p>
+
+<p>THE GENERALIFE</p>
+
+<p>GALLERY IN THE ACEQUIA COURT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_343">
+<a href="images/plt_343.jpg">
+<img src="images/plt_343.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 343</p>
+
+<p>THE GENERALIFE</p>
+
+<p>ENTRANCE TO THE PORTRAIT GALLERY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_344">
+<a href="images/plt_344.jpg">
+<img src="images/plt_344.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 344</p>
+
+<p>GARDEN OF THE GENERALIFE</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_345">
+<a href="images/plt_345.jpg">
+<img src="images/plt_345.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 345</p>
+
+<p>ELEVATION OF THE PORTICO OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_346">
+<a href="images/plt_346.jpg">
+<img src="images/plt_346.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 346</p>
+
+<p>THE ACEQUIA COURT IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_347">
+<a href="images/plt_347.jpg">
+<img src="images/plt_347.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 347</p>
+
+<p>A CORNER OF THE ACEQUIA COURT IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_440" id="page_440">{440}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_348">
+<a href="images/plt_348.jpg">
+<img src="images/plt_348.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 348</p>
+<table>
+<tr valign="top"><td>
+<p>CYPRESS COURT</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>A CORNER IN THE ACEQUIA COURT</p>
+</td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_349">
+<a href="images/plt_349.jpg">
+<img src="images/plt_349.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 349</p>
+
+<p>THE CYPRESS OF THE SULTANA IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_350">
+<a href="images/plt_350.jpg">
+<img src="images/plt_350.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 350</p>
+
+<p>A CEILING IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_443" id="page_443">{443}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_351">
+<a href="images/plt_351.jpg">
+<img src="images/plt_351.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 351</p>
+
+<p>THE GENERALIFE. THE ACEQUIA COURT FROM THE MAIN ENTRANCE</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_444" id="page_444">{444}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_352">
+<a href="images/plt_352.jpg">
+<img src="images/plt_352.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 352</p>
+
+<p>THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_445" id="page_445">{445}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_353">
+<a href="images/plt_353.jpg">
+<img src="images/plt_353.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 353</p>
+
+<p>EXTERIOR VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_446" id="page_446">{446}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_354">
+<a href="images/plt_354.jpg">
+<img src="images/plt_354.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 354</p>
+
+<p>ENTRANCE TO THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_447" id="page_447">{447}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_355">
+<a href="images/plt_355.jpg">
+<img src="images/plt_355.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 355</p>
+
+<p>THE GENERALIFE. COURT OF THE SULTANA’S CYPRESS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_448" id="page_448">{448}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_356">
+<a href="images/plt_356.jpg">
+<img src="images/plt_356.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 356</p>
+
+<p>THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_357">
+<a href="images/plt_357.jpg">
+<img src="images/plt_357.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 357</p>
+
+<p>SOUTH FAÇADE OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_450" id="page_450">{450}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_358">
+<a href="images/plt_358.jpg">
+<img src="images/plt_358.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 358</p>
+
+<p>BAS-RELIEF IN THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_359">
+<a href="images/plt_359.jpg">
+<img src="images/plt_359.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 359</p>
+
+<p>BAS-RELIEF IN THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_452" id="page_452">{452}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_360">
+<a href="images/plt_360.jpg">
+<img src="images/plt_360.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 360</p>
+
+<p>GATE OF THE GRANADAS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_453" id="page_453">{453}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_361">
+<a href="images/plt_361.jpg">
+<img src="images/plt_361.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 361</p>
+
+<p>PROMENADES AND HOTELS OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_454" id="page_454">{454}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_362">
+<a href="images/plt_362.jpg">
+<img src="images/plt_362.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 362</p>
+
+<p>THE GATE OF JUSTICE AND FOUNTAIN OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_455" id="page_455">{455}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_363">
+<a href="images/plt_363.jpg">
+<img src="images/plt_363.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 363</p>
+
+<p>ENVIRONS OF THE ALHAMBRA. FOUNTAIN OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_364">
+<a href="images/plt_364.jpg">
+<img src="images/plt_364.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 364</p>
+
+<p>GATE OF JUSTICE. PRINCIPAL ENTRANCE TO THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_365">
+<a href="images/plt_365.jpg">
+<img src="images/plt_365.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 365</p>
+
+<p>GATE OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_366">
+<a href="images/plt_366.jpg">
+<img src="images/plt_366.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 366</p>
+
+<p>GATE OF THE VINE. EAST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_459" id="page_459">{459}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_367">
+<a href="images/plt_367.jpg">
+<img src="images/plt_367.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 367</p>
+
+<p>ENVIRONS OF THE ALHAMBRA. TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_368">
+<a href="images/plt_368.jpg">
+<img src="images/plt_368.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 368</p>
+
+<p>TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_461" id="page_461">{461}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_369">
+<a href="images/plt_369.jpg">
+<img src="images/plt_369.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 369</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE SILLA DEL MORO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_462" id="page_462">{462}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_370">
+<a href="images/plt_370.jpg">
+<img src="images/plt_370.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 370</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE GIPSY QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_371">
+<a href="images/plt_371.jpg">
+<img src="images/plt_371.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 371</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_372">
+<a href="images/plt_372.jpg">
+<img src="images/plt_372.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 372</p>
+
+<p>VIEW OF GRANADA AND THE ALHAMBRA FROM THE SACROMONTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_373">
+<a href="images/plt_373.jpg">
+<img src="images/plt_373.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 373</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM ST. NICHOLAS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_466" id="page_466">{466}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_374">
+<a href="images/plt_374.jpg">
+<img src="images/plt_374.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 374</p>
+
+<p>THE WATCH TOWER, THE CATHEDRAL, AND GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_467" id="page_467">{467}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_375">
+<a href="images/plt_375.jpg">
+<img src="images/plt_375.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 375</p>
+
+<p>VILLAS ON THE BANKS OF THE RIVER DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_468" id="page_468">{468}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_376">
+<a href="images/plt_376.jpg">
+<img src="images/plt_376.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 376</p>
+
+<p>A VIEW OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_377">
+<a href="images/plt_377.jpg">
+<img src="images/plt_377.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 377</p>
+
+<p>VILLAS ON THE BANKS OF THE RIVER DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_378">
+<a href="images/plt_378.jpg">
+<img src="images/plt_378.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 378</p>
+
+<p>THE WATCH TOWER AND CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_379">
+<a href="images/plt_379.jpg">
+<img src="images/plt_379.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 379</p>
+
+<p>THE RED TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_472" id="page_472">{472}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_380">
+<a href="images/plt_380.jpg">
+<img src="images/plt_380.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 380</p>
+
+<p>THE HOMAGE TOWER AND GIPSY QUARTERS. EXTERIOR OF THEIR CAVES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_473" id="page_473">{473}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_381">
+<a href="images/plt_381.jpg">
+<img src="images/plt_381.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 381</p>
+
+<p>CARRERA DEL RIO DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_474" id="page_474">{474}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_382">
+<a href="images/plt_382.jpg">
+<img src="images/plt_382.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 382</p>
+
+<p>THE GATE OF ELVIRA. THE OLD ENTRANCE TO THE FORTIFICATIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_475" id="page_475">{475}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_383">
+<a href="images/plt_383.jpg">
+<img src="images/plt_383.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 383</p>
+
+<p>WASHING PLACE IN THE PUERTA DEL SOL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_384">
+<a href="images/plt_384.jpg">
+<img src="images/plt_384.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 384</p>
+
+<p>COURTYARD OF AN ARAB HOUSE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_385">
+<a href="images/plt_385.jpg">
+<img src="images/plt_385.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 385</p>
+
+<p>A MOORISH ARCHWAY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_478" id="page_478">{478}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_386">
+<a href="images/plt_386.jpg">
+<img src="images/plt_386.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 386</p>
+
+<p>INTERIOR OF AN OLD HOUSE IN THE CALLE DEL HORNO DE ORO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_479" id="page_479">{479}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_387">
+<a href="images/plt_387.jpg">
+<img src="images/plt_387.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 387</p>
+
+<p>INTERIOR OF AN OLD HOUSE IN THE ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_388">
+<a href="images/plt_388.jpg">
+<img src="images/plt_388.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 388</p>
+
+<p>THE CATHEDRAL AND GENERAL VIEW</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_389">
+<a href="images/plt_389.jpg">
+<img src="images/plt_389.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 389</p>
+
+<p>GENERAL VIEW OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_482" id="page_482">{482}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_390">
+<a href="images/plt_390.jpg">
+<img src="images/plt_390.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 390</p>
+
+<p>GENERAL VIEW OF THE EXTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_483" id="page_483">{483}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_391">
+<a href="images/plt_391.jpg">
+<img src="images/plt_391.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 391</p>
+
+<p>ENTRANCE TO THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_484" id="page_484">{484}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_392">
+<a href="images/plt_392.jpg">
+<img src="images/plt_392.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 392</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_485" id="page_485">{485}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_393">
+<a href="images/plt_393.jpg">
+<img src="images/plt_393.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 393</p>
+
+<p>DETAIL OF THE EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_394">
+<a href="images/plt_394.jpg">
+<img src="images/plt_394.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 394</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_395">
+<a href="images/plt_395.jpg">
+<img src="images/plt_395.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 395</p>
+
+<p>EXTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_396">
+<a href="images/plt_396.jpg">
+<img src="images/plt_396.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 396</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_489" id="page_489">{489}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_397">
+<a href="images/plt_397.jpg">
+<img src="images/plt_397.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 397</p>
+
+<p>EXTERIOR OF THE CATHEDRAL. THE GATE OF PARDON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_490" id="page_490">{490}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_398">
+<a href="images/plt_398.jpg">
+<img src="images/plt_398.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 398</p>
+
+<p>GOTHIC PINNACLE ON THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_491" id="page_491">{491}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_399">
+<a href="images/plt_399.jpg">
+<img src="images/plt_399.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 399</p>
+
+<p>THE CATHEDRAL, VIEW FROM THE CHOIR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_400">
+<a href="images/plt_400.jpg">
+<img src="images/plt_400.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 400</p>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE CHANCEL AND HIGH ALTAR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_401">
+<a href="images/plt_401.jpg">
+<img src="images/plt_401.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 401</p>
+
+<p>BAS RELIEF IN THE ALTAR-PIECE OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_402">
+<a href="images/plt_402.jpg">
+<img src="images/plt_402.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 402</p>
+
+<p>GENERAL VIEW OF THE CHANCEL IN THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_495" id="page_495">{495}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_403">
+<a href="images/plt_403.jpg">
+<img src="images/plt_403.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 403</p>
+
+<p>THE ROYAL CHAPEL. SEPULCHRE OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_496" id="page_496">{496}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_404">
+<a href="images/plt_404.jpg">
+<img src="images/plt_404.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 404</p>
+
+<p>ROYAL CHAPEL. DETAIL OF THE SEPULCHRE OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_405">
+<a href="images/plt_405.jpg">
+<img src="images/plt_405.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 405</p>
+
+<p>THE ROYAL CHAPEL. SCULPTURE OF KING FERDINAND THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_498" id="page_498">{498}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_406">
+<a href="images/plt_406.jpg">
+<img src="images/plt_406.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 406</p>
+
+<p>SEPULCHRE OF FERDINAND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_499" id="page_499">{499}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_407">
+<a href="images/plt_407.jpg">
+<img src="images/plt_407.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 407</p>
+
+<p>SEPULCHRE OF ISABELLA THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_500" id="page_500">{500}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_408">
+<a href="images/plt_408.jpg">
+<img src="images/plt_408.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 408</p>
+
+<p>PORTAL OF THE CHURCH OF SAN JUAN DE DIO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_409">
+<a href="images/plt_409.jpg">
+<img src="images/plt_409.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 409</p>
+
+<p>SEPULCHRE OF ALONSO CANO IN SAN GERONIMO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_502" id="page_502">{502}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_410">
+<a href="images/plt_410.jpg">
+<img src="images/plt_410.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 410</p>
+
+<p>HEAD OF JOHN THE BAPTIST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_503" id="page_503">{503}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_411">
+<a href="images/plt_411.jpg">
+<img src="images/plt_411.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 411</p>
+
+<p>HEAD OF JOHN THE BAPTIST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_504" id="page_504">{504}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_412">
+<a href="images/plt_412.jpg">
+<img src="images/plt_412.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 412</p>
+
+<p>HEAD OF JOHN THE BAPTIST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_505" id="page_505">{505}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_413">
+<a href="images/plt_413.jpg">
+<img src="images/plt_413.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 413</p>
+
+<p>EXTERIOR OF THE CARTUJA MONASTERY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_506" id="page_506">{506}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_414">
+<a href="images/plt_414.jpg">
+<img src="images/plt_414.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 414</p>
+
+<p>SACRISTY IN THE CARTUJA, LEFT SIDE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_507" id="page_507">{507}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_415">
+<a href="images/plt_415.jpg">
+<img src="images/plt_415.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 415</p>
+
+<p>SACRISTY IN THE CARTUJA, RIGHT SIDE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_508" id="page_508">{508}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_416">
+<a href="images/plt_416.jpg">
+<img src="images/plt_416.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 416</p>
+
+<p>CARTUJA. SANTO SANTORUM</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_509" id="page_509">{509}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_417">
+<a href="images/plt_417.jpg">
+<img src="images/plt_417.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 417</p>
+
+<p>CARTUJA. DETAIL OF THE CUPBOARDS IN THE SACRISTY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_510" id="page_510">{510}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_418">
+<a href="images/plt_418.jpg">
+<img src="images/plt_418.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 418</p>
+
+<p>ALTARS IN THE CARTUJA. PICTURES BY SANCHEZ Y COTÁN, A MONK OF THE
+ORDER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_511" id="page_511">{511}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_419">
+<a href="images/plt_419.jpg">
+<img src="images/plt_419.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 419</p>
+
+<p>CARTUJA. THE IMMACULATE CONCEPTION. BY MURILLO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_512" id="page_512">{512}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_420">
+<a href="images/plt_420.jpg">
+<img src="images/plt_420.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 420</p>
+
+<p><span class="pagenum"><a name="page_513" id="page_513">{513}</a></span></p>
+
+<p>CARTUJA. THE VIRGIN OF THE ROSARY. BY MURILLO</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_421">
+<a href="images/plt_421.jpg">
+<img src="images/plt_421.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 421</p>
+
+<p>CARTUJA. ST. JOSEPH AND THE CHILD, SCULPTURE BY ALONSO CAÑO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_514" id="page_514">{514}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_422">
+<a href="images/plt_422.jpg">
+<img src="images/plt_422.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 422</p>
+
+<p>CARTUJA. ST. MARY MAGDALENE, SCULPTURE BY ALONSO CAÑO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_515" id="page_515">{515}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_423">
+<a href="images/plt_423.jpg">
+<img src="images/plt_423.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 423</p>
+
+<p>CARTUJA. HORSEMEN HANGING MARTYRS. BY SANCHEZ COTÁN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_516" id="page_516">{516}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_424">
+<a href="images/plt_424.jpg">
+<img src="images/plt_424.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 424</p>
+
+<p>CARTUJA. THE BAPTISM OF OUR LORD. BY SANCHEZ COTÁN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_517" id="page_517">{517}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_425">
+<a href="images/plt_425.jpg">
+<img src="images/plt_425.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 425</p>
+
+<p>CARTUJA. THE HOLY FAMILY. BY SANCHEZ COTÁN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_518" id="page_518">{518}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_426">
+<a href="images/plt_426.jpg">
+<img src="images/plt_426.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 426</p>
+
+<p>THE CRUCIFIXION OF OUR LORD. BY MORALES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_519" id="page_519">{519}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_427">
+<a href="images/plt_427.jpg">
+<img src="images/plt_427.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 427</p>
+
+<p>THE CONCEPTION OF OUR LADY. BY MORALES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_520" id="page_520">{520}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_428">
+<a href="images/plt_428.jpg">
+<img src="images/plt_428.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 428</p>
+
+<p>THE GIPSY QUARTERS. EXTERIOR OF THE CAVES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_521" id="page_521">{521}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_429">
+<a href="images/plt_429.jpg">
+<img src="images/plt_429.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 429</p>
+
+<p>THE GIPSY QUARTERS. AN “AT HOME<span class="pagenum"><a name="page_522" id="page_522">{522}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_430">
+<a href="images/plt_430.jpg">
+<img src="images/plt_430.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 430</p>
+
+<p>GIPSY DANCE IN THEIR QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_523" id="page_523">{523}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_431">
+<a href="images/plt_431.jpg">
+<img src="images/plt_431.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 431</p>
+
+<p>GIPSY TYPES AT THE DOORS OF THEIR CAVES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_524" id="page_524">{524}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_432">
+<a href="images/plt_432.jpg">
+<img src="images/plt_432.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 432</p>
+
+<p>GIPSY DANCE IN THEIR QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_525" id="page_525">{525}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_433">
+<a href="images/plt_433.jpg">
+<img src="images/plt_433.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 433</p>
+
+<p>GIPSY DANCERS AND THEIR CAPTAIN, J. AMAYA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_526" id="page_526">{526}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_434">
+<a href="images/plt_434.jpg">
+<img src="images/plt_434.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 434</p>
+
+<p>BRIDGE OF THE GENIL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_527" id="page_527">{527}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_435">
+<a href="images/plt_435.jpg">
+<img src="images/plt_435.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 435</p>
+
+<p>GENERAL VIEW</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_528" id="page_528">{528}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_436">
+<a href="images/plt_436.jpg">
+<img src="images/plt_436.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 436</p>
+
+<p>GENERAL VIEW OF THE OLD ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_529" id="page_529">{529}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_437">
+<a href="images/plt_437.jpg">
+<img src="images/plt_437.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 437</p>
+
+<p>GENERAL VIEW FROM THE WATCH TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_530" id="page_530">{530}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_438">
+<a href="images/plt_438.jpg">
+<img src="images/plt_438.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 438</p>
+
+<p>OLD ARAB PALACE. NOW THE PROPERTY OF A SPANISH NOBLEMAN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_531" id="page_531">{531}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_439">
+<a href="images/plt_439.jpg">
+<img src="images/plt_439.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 439</p>
+
+<p>THE OLD TOWN HALL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_532" id="page_532">{532}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_440">
+<a href="images/plt_440.jpg">
+<img src="images/plt_440.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 440</p>
+
+<p>THE ROYAL GATE AND STREET OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_533" id="page_533">{533}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_441">
+<a href="images/plt_441.jpg">
+<img src="images/plt_441.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 441</p>
+
+<p>MONUMENT TO COLUMBUS IN THE PASEO DEL SALÓN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_534" id="page_534">{534}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_442">
+<a href="images/plt_442.jpg">
+<img src="images/plt_442.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 442</p>
+
+<p>THE RAW SILK MARKET</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_535" id="page_535">{535}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_443">
+<a href="images/plt_443.jpg">
+<img src="images/plt_443.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 443</p>
+
+<p>THE RAW SILK MARKET. ANCIENT ARAB SILK MARKET</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_536" id="page_536">{536}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_444">
+<a href="images/plt_444.jpg">
+<img src="images/plt_444.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 444</p>
+
+<p>EXTERIOR OF AN OLD HOUSE, CUESTA DEL PESCADO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_537" id="page_537">{537}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_445">
+<a href="images/plt_445.jpg">
+<img src="images/plt_445.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 445</p>
+
+<p>THE COURT OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_538" id="page_538">{538}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_446">
+<a href="images/plt_446.jpg">
+<img src="images/plt_446.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 446</p>
+
+<p>CARRERA DEL DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_539" id="page_539">{539}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_447">
+<a href="images/plt_447.jpg">
+<img src="images/plt_447.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 447</p>
+
+<p>MARKET AND GIPSY FAIR IN THE TRIUNFO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_540" id="page_540">{540}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_448">
+<a href="images/plt_448.jpg">
+<img src="images/plt_448.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 448</p>
+
+<p>CALLE DE SAN ANTON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_541" id="page_541">{541}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_449">
+<a href="images/plt_449.jpg">
+<img src="images/plt_449.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 449</p>
+
+<p>ANTEQUERUELA QUARTER, SIERRA NEVADA, AND THE “LAST SIGH OF THE MOOR<span class="pagenum"><a name="page_542" id="page_542">{542}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_450">
+<a href="images/plt_450.jpg">
+<img src="images/plt_450.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 450</p>
+
+<p>CARRERA DE GENIL AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_543" id="page_543">{543}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_451">
+<a href="images/plt_451.jpg">
+<img src="images/plt_451.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 451</p>
+
+<p>PLAZA DE MARIANA PINEDA, ARAB HOUSE, AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_544" id="page_544">{544}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_452">
+<a href="images/plt_452.jpg">
+<img src="images/plt_452.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 452</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA AND OF THE SIERRA NEVADA FROM ST. MICHAEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_545" id="page_545">{545}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_453">
+<a href="images/plt_453.jpg">
+<img src="images/plt_453.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 453</p>
+
+<p>HUÉTOR HIGH ROAD AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_546" id="page_546">{546}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_454">
+<a href="images/plt_454.jpg">
+<img src="images/plt_454.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 454</p>
+
+<p>VILLAS ON THE BORDERS OF THE RIVER DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_547" id="page_547">{547}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_455">
+<a href="images/plt_455.jpg">
+<img src="images/plt_455.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 455</p>
+
+<p>DEFILE OF THE DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_548" id="page_548">{548}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_456">
+<a href="images/plt_456.jpg">
+<img src="images/plt_456.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 456</p>
+
+<p>THE GREEN BRIDGE AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_549" id="page_549">{549}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_457">
+<a href="images/plt_457.jpg">
+<img src="images/plt_457.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 457</p>
+
+<p>VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_550" id="page_550">{550}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_458">
+<a href="images/plt_458.jpg">
+<img src="images/plt_458.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 458</p>
+
+<p>GENERAL VIEW OF THE SIERRA NEVADA AND THE RIVER GENIL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_551" id="page_551">{551}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_459">
+<a href="images/plt_459.jpg">
+<img src="images/plt_459.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 459</p>
+
+<p>GRANADA</p>
+
+<p><i>Specially drawn for The Spanish Series</i></p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_552" id="page_552">{552}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_460">
+<a href="images/plt_460.jpg">
+<img src="images/plt_460.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 460</p>
+
+<p>ARMS OF GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_553" id="page_553">{553}</a></span></p>
+
+<hr />
+
+<p class="chuge">THE<br />
+SPANISH SERIES</p>
+
+<p class="c">Edited by ALBERT F. CALVERT</p>
+
+<p class="nind"><span class="letra">A</span> new and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.</p>
+
+<p class="c">Crown 8vo Price 3/6 net</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td class="rt">1</td><td>Goya</td><td class="c">with</td><td class="c">600</td><td class="c">illustrations</td></tr>
+<tr><td class="rt">2</td><td>Toledo</td><td class="c">”</td><td class="c">510</td><td class="c">”</td></tr>
+<tr><td class="rt">3</td><td>Madrid</td><td class="c">”</td><td class="c">450</td><td class="c">”</td></tr>
+<tr><td class="rt">4</td><td>Seville</td><td class="c">”</td><td class="c">300</td><td class="c">”</td></tr>
+<tr><td class="rt">5</td><td>Murillo</td><td class="c">”</td><td class="c">165</td><td class="c">”</td></tr>
+<tr><td class="rt">6</td><td>Cordova</td><td class="c">”</td><td class="c">160</td><td class="c">”</td></tr>
+<tr><td class="rt">7</td><td>El Greco</td><td class="c">”</td><td class="c">140</td><td class="c">”</td></tr>
+<tr><td class="rt">8</td><td>Velazquez</td><td class="c">”</td><td class="c">142</td><td class="c">”</td></tr>
+<tr><td class="rt">9</td><td>The Prado</td><td class="c">”</td><td class="c">223</td><td class="c">”</td></tr>
+<tr><td class="rt">10</td><td>The Escorial</td><td class="c">”</td><td class="c">278</td><td class="c">”</td></tr>
+<tr><td class="rt">11</td><td>Royal Palaces of Spain</td><td class="c">”</td><td class="c">200</td><td class="c">”</td></tr>
+<tr><td class="rt">12</td><td>Granada and Alhambra</td><td class="c">”</td><td class="c">460</td><td class="c">”</td></tr>
+<tr><td class="rt">13</td><td>Spanish Arms and Armour</td><td class="c">”</td><td class="c">386</td><td class="c">”</td></tr>
+<tr><td class="rt">14</td><td>Leon, Burgos and Salamanca</td><td class="c">”</td><td class="c">462</td><td class="c">”</td></tr>
+<tr><td class="rt">15</td><td>Valladolid, Oviedo, Segovia, Zamora, Avila and Zaragoza</td><td class="c">”</td><td class="c">390</td><td class="c">”</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_554" id="page_554">{554}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">MURILLO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p class="nind"><span class="letra">W</span>HILE the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.</p>
+
+<p>In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">SPANISH ARMS AND ARMOUR</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN</p>
+
+<p class="nind"><span class="letra">A</span>LTHOUGH several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.</p>
+
+<p>The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.<span class="pagenum"><a name="page_555" id="page_555">{555}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">THE ESCORIAL</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS</p>
+
+<p class="nind"><span class="letra">T</span>HE Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.</p>
+
+<p>In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">TOLEDO</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">T</span>HE origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”</p>
+
+<p>But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.</p>
+
+<p>In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.<span class="pagenum"><a name="page_556" id="page_556">{556}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">SEVILLE</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">S</span>EVILLE, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.</p>
+
+<p>Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.</p>
+
+<p>The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">THE PRADO</p>
+
+<p>A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG</p>
+
+<p class="nind"><span class="letra">T</span>HIS volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.</p>
+
+<p>The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.</p>
+
+<p>The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.<span class="pagenum"><a name="page_557" id="page_557">{557}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">GRANADA AND THE ALHAMBRA</p>
+
+<p>A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE</p>
+
+<p class="nind"><span class="letra">T</span>HIS volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.</p>
+
+<p>In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so&mdash;it is my hope&mdash;the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">EL GRECO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES</p>
+
+<p class="nind"><span class="letra">I</span>N a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.</p>
+
+<p>El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures&mdash;a greater number than has ever before been
+published of El Greco’s works.<span class="pagenum"><a name="page_558" id="page_558">{558}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">VELAZQUEZ</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p class="nind"><span class="letra">D</span>IEGO RODRIGUEZ DE SILVA Y VELAZQUEZ&mdash;“our Velazquez,” as Palomino
+proudly styles him&mdash;has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.</p>
+
+<p>The great Velazquez, the eagle in art&mdash;subtle, simple, incomparable&mdash;the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.</p>
+
+<p>The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">ROYAL PALACES OF SPAIN</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED</p>
+
+<p class="nind"><span class="letra">S</span>PAIN is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.</p>
+
+<p>The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.<span class="pagenum"><a name="page_559" id="page_559">{559}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">T</span>HE glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.</p>
+
+<p>More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.</p>
+
+<p>In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">LEON, BURGOS AND SALAMANCA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">I</span>N Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.</p>
+
+<p>Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital; and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.</p>
+
+<p>Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.<span class="pagenum"><a name="page_560" id="page_560">{560}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">MADRID</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">M</span>ADRID is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.</p>
+
+<p>The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">GOYA</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES</p>
+
+<p class="nind"><span class="letra">T</span>HE last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”</p>
+
+<p>The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.</p>
+
+<p>It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.<span class="pagenum"><a name="page_561" id="page_561">{561}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">CORDOVA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">G</span>AY-LOOKING, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.</p>
+
+<p>Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.</p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="chuge">LIFE OF CERVANTES</p>
+
+<p>A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”</p>
+
+<p class="c">
+Size Crown 8vo.         150 pp.         Price 3/6 net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“A popular and accessible account of the career of Cervantes.”&mdash;<i>Daily
+Chronicle.</i></p>
+
+<p>“A very readable and pleasant account of one of the great writers of all
+time.”&mdash;<i>Morning Leader.</i></p>
+
+<p>“<span class="smcap">Mr. Calvert</span> is entitled to the gratitude of book-lovers for his
+industrious devotion at one of our greatest literary
+shrines.”&mdash;<i>Birmingham Post.</i></p>
+
+<p>“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”&mdash;<i>Black and White.</i></p>
+
+<p>“We recommend the book to all those to whom Cervantes is more than a
+mere name.”&mdash;<i>Westminster Gazette.</i></p>
+
+<p>“A most interesting résumé of all facts up to the present time
+known.”&mdash;<i>El Nervion de Bilbao, Spain.</i></p>
+
+<p>“The most notable work dedicated to the immortal author of Don Quixote
+that has been published in England.”&mdash;<i>El Graduador, Spain.</i></p>
+
+<p>“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.<span class="pagenum"><a name="page_562" id="page_562">{562}</a></span>”&mdash;<i>El Defensor de
+Granada, Spain.</i></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="chuge">THE ALHAMBRA</p>
+
+<p>OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Size 10 x 7-1/2.       Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”&mdash;<i>Building World.</i></p>
+
+<p>“One is really puzzled where to begin and when to stop in praising the
+illustrations.”&mdash;<i>Bookseller.</i></p>
+
+<p>“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”&mdash;<i>British Architect.</i></p>
+
+<p>“A treasure to the student of decorative art.”&mdash;<i>Morning Advertiser.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given us a Book Beautiful.”&mdash;<i>Western Daily Press.</i></p>
+
+<p>“It is the last word on the subject, no praise is too
+high.”&mdash;<i>Nottingham Express.</i></p>
+
+<p>“May be counted among the more important art books which have been
+published during recent years.”&mdash;<i>The Globe.</i></p>
+
+<p>“Has a pride of place that is all its own among the books of the
+month.”&mdash;<i>Review of Reviews.</i></p>
+
+<p>“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”&mdash;<i>El Graduador,
+Spain.</i></p>
+
+<p>“It is one of the most beautiful books of modern times.”&mdash;<i>Ely Gazette.</i></p>
+
+<p>“One of the most artistic productions of the year.”&mdash;<i>Publishers’
+Circular.</i></p>
+
+<p>“The most beautiful book on the Alhambra issued in England.”&mdash;<i>Sphere.</i></p>
+
+<p>“The standard work on a splendid subject.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A remarkable masterpiece of book production.”&mdash;<i>Eastern Daily Press.</i></p>
+
+<p>“A perfect treasure of beauty and delight.”&mdash;<i>Keighley News.</i></p>
+
+<p>“A magnificent work.”&mdash;<i>Melbourne Age, Australia.</i></p>
+
+<p>“Immense collection of fine plates.”&mdash;<i>The Times.</i></p>
+
+<p>“A standard work, the compilation of which would credit a life’s
+labour.<span class="pagenum"><a name="page_563" id="page_563">{563}</a></span>”&mdash;<i>Hull Daily Mail.</i></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="chuge">MOORISH REMAINS IN SPAIN</p>
+
+<p>BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Crown 4to. (7-1/2 x 10 ins.)     Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”&mdash;<i>Pall Mall
+Gazette.</i></p>
+
+<p>“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”&mdash;<i>The Scotsman.</i></p>
+
+<p>“A most gorgeous book.... We cheerfully admit Mr. <span class="smcap">Calvert</span> into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”&mdash;<i>Outlook.</i></p>
+
+<p>“A large and sumptuous volume.”&mdash;<i>Tribune.</i></p>
+
+<p>“The illustrations are simply marvels of reproduction.”&mdash;<i>Dundee
+Advertiser.</i></p>
+
+<p>“One of the books to which a simple literary review cannot pretend to do
+justice.”&mdash;<i>Spectator.</i></p>
+
+<p>“A special feature of a work of peculiar interest and value are the
+illustrations.”&mdash;<i>Newcastle Chronicle.</i></p>
+
+<p>“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”&mdash;<i>Liverpool Post.</i></p>
+
+<p>“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”&mdash;<i>Birmingham Daily Post.</i></p>
+
+<p>“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”&mdash;<i>Academy.</i></p>
+
+<p>“It is certainly one of the most interesting books of the
+year.”&mdash;<i>Crown.</i></p>
+
+<p>“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”&mdash;<i>Guardian.</i></p>
+
+<p>“An excellent piece of work.”&mdash;<i>The Times.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has performed a useful work.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A truly sumptuous volume.”&mdash;<i>The Speaker.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given a very complete account of the evolution of
+Moresco art.”&mdash;<i>The Connoisseur.</i></p>
+
+<div class="footnotes"><p class="cb">FOOTNOTES:</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> He is reckoned as Mohammed VI. by the writers who deny the
+title of Sultan to the usurper of Mohammed V.’s throne.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> Known as Mohammed X.</p></div>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> I adopt Mr. U. R. Burke’s statement of the relationship
+between Abu-l-Hassan, Zoraya, and Boabdil. (Burke, “History of Spain,”
+II. p. 98.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> Here was lodged the cavalry of the Moorish Sultans.</p></div>
+
+</div>
+
+<div class="figcenter">
+<img src="images/back.jpg" width="341" height="550" alt="" title="" />
+</div>
+
+<hr class="full" />
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 64620 ***</div>
+</body>
+</html>
diff --git a/64620-h/images/back.jpg b/64620-h/images/back.jpg
new file mode 100644
index 0000000..8131ebe
--- /dev/null
+++ b/64620-h/images/back.jpg
diff --git a/64620-h/images/cover.jpg b/64620-h/images/cover.jpg
new file mode 100644
index 0000000..160e407
--- /dev/null
+++ b/64620-h/images/cover.jpg
diff --git a/64620-h/images/front.jpg b/64620-h/images/front.jpg
new file mode 100644
index 0000000..efb56ff
--- /dev/null
+++ b/64620-h/images/front.jpg
diff --git a/64620-h/images/map.jpg b/64620-h/images/map.jpg
new file mode 100644
index 0000000..2234162
--- /dev/null
+++ b/64620-h/images/map.jpg
diff --git a/64620-h/images/plt_001.jpg b/64620-h/images/plt_001.jpg
new file mode 100644
index 0000000..9c4c48e
--- /dev/null
+++ b/64620-h/images/plt_001.jpg
diff --git a/64620-h/images/plt_002.jpg b/64620-h/images/plt_002.jpg
new file mode 100644
index 0000000..0e4beb3
--- /dev/null
+++ b/64620-h/images/plt_002.jpg
diff --git a/64620-h/images/plt_003.jpg b/64620-h/images/plt_003.jpg
new file mode 100644
index 0000000..b945e36
--- /dev/null
+++ b/64620-h/images/plt_003.jpg
diff --git a/64620-h/images/plt_004.jpg b/64620-h/images/plt_004.jpg
new file mode 100644
index 0000000..0ced0ff
--- /dev/null
+++ b/64620-h/images/plt_004.jpg
diff --git a/64620-h/images/plt_005.jpg b/64620-h/images/plt_005.jpg
new file mode 100644
index 0000000..03951de
--- /dev/null
+++ b/64620-h/images/plt_005.jpg
diff --git a/64620-h/images/plt_006.jpg b/64620-h/images/plt_006.jpg
new file mode 100644
index 0000000..4cee0a8
--- /dev/null
+++ b/64620-h/images/plt_006.jpg
diff --git a/64620-h/images/plt_007.jpg b/64620-h/images/plt_007.jpg
new file mode 100644
index 0000000..d1ecca9
--- /dev/null
+++ b/64620-h/images/plt_007.jpg
diff --git a/64620-h/images/plt_008.jpg b/64620-h/images/plt_008.jpg
new file mode 100644
index 0000000..3f0dde8
--- /dev/null
+++ b/64620-h/images/plt_008.jpg
diff --git a/64620-h/images/plt_009.jpg b/64620-h/images/plt_009.jpg
new file mode 100644
index 0000000..93c9c1c
--- /dev/null
+++ b/64620-h/images/plt_009.jpg
diff --git a/64620-h/images/plt_010.jpg b/64620-h/images/plt_010.jpg
new file mode 100644
index 0000000..066ed40
--- /dev/null
+++ b/64620-h/images/plt_010.jpg
diff --git a/64620-h/images/plt_011.jpg b/64620-h/images/plt_011.jpg
new file mode 100644
index 0000000..2e19222
--- /dev/null
+++ b/64620-h/images/plt_011.jpg
diff --git a/64620-h/images/plt_012.jpg b/64620-h/images/plt_012.jpg
new file mode 100644
index 0000000..06f00b8
--- /dev/null
+++ b/64620-h/images/plt_012.jpg
diff --git a/64620-h/images/plt_013.jpg b/64620-h/images/plt_013.jpg
new file mode 100644
index 0000000..3bf6837
--- /dev/null
+++ b/64620-h/images/plt_013.jpg
diff --git a/64620-h/images/plt_014.jpg b/64620-h/images/plt_014.jpg
new file mode 100644
index 0000000..1bba9ef
--- /dev/null
+++ b/64620-h/images/plt_014.jpg
diff --git a/64620-h/images/plt_015.jpg b/64620-h/images/plt_015.jpg
new file mode 100644
index 0000000..70e25d0
--- /dev/null
+++ b/64620-h/images/plt_015.jpg
diff --git a/64620-h/images/plt_016.jpg b/64620-h/images/plt_016.jpg
new file mode 100644
index 0000000..ba0c423
--- /dev/null
+++ b/64620-h/images/plt_016.jpg
diff --git a/64620-h/images/plt_017.jpg b/64620-h/images/plt_017.jpg
new file mode 100644
index 0000000..a04b4e0
--- /dev/null
+++ b/64620-h/images/plt_017.jpg
diff --git a/64620-h/images/plt_018.jpg b/64620-h/images/plt_018.jpg
new file mode 100644
index 0000000..d80e068
--- /dev/null
+++ b/64620-h/images/plt_018.jpg
diff --git a/64620-h/images/plt_019.jpg b/64620-h/images/plt_019.jpg
new file mode 100644
index 0000000..42cec0d
--- /dev/null
+++ b/64620-h/images/plt_019.jpg
diff --git a/64620-h/images/plt_020.jpg b/64620-h/images/plt_020.jpg
new file mode 100644
index 0000000..e0d7535
--- /dev/null
+++ b/64620-h/images/plt_020.jpg
diff --git a/64620-h/images/plt_021.jpg b/64620-h/images/plt_021.jpg
new file mode 100644
index 0000000..48e104a
--- /dev/null
+++ b/64620-h/images/plt_021.jpg
diff --git a/64620-h/images/plt_022.jpg b/64620-h/images/plt_022.jpg
new file mode 100644
index 0000000..8919f61
--- /dev/null
+++ b/64620-h/images/plt_022.jpg
diff --git a/64620-h/images/plt_023.jpg b/64620-h/images/plt_023.jpg
new file mode 100644
index 0000000..df214ba
--- /dev/null
+++ b/64620-h/images/plt_023.jpg
diff --git a/64620-h/images/plt_024.jpg b/64620-h/images/plt_024.jpg
new file mode 100644
index 0000000..57b26bd
--- /dev/null
+++ b/64620-h/images/plt_024.jpg
diff --git a/64620-h/images/plt_025.jpg b/64620-h/images/plt_025.jpg
new file mode 100644
index 0000000..2991307
--- /dev/null
+++ b/64620-h/images/plt_025.jpg
diff --git a/64620-h/images/plt_026.jpg b/64620-h/images/plt_026.jpg
new file mode 100644
index 0000000..f34a604
--- /dev/null
+++ b/64620-h/images/plt_026.jpg
diff --git a/64620-h/images/plt_027.jpg b/64620-h/images/plt_027.jpg
new file mode 100644
index 0000000..604043c
--- /dev/null
+++ b/64620-h/images/plt_027.jpg
diff --git a/64620-h/images/plt_028.jpg b/64620-h/images/plt_028.jpg
new file mode 100644
index 0000000..d0a4b19
--- /dev/null
+++ b/64620-h/images/plt_028.jpg
diff --git a/64620-h/images/plt_029.jpg b/64620-h/images/plt_029.jpg
new file mode 100644
index 0000000..74b49a7
--- /dev/null
+++ b/64620-h/images/plt_029.jpg
diff --git a/64620-h/images/plt_030.jpg b/64620-h/images/plt_030.jpg
new file mode 100644
index 0000000..b38edc2
--- /dev/null
+++ b/64620-h/images/plt_030.jpg
diff --git a/64620-h/images/plt_031.jpg b/64620-h/images/plt_031.jpg
new file mode 100644
index 0000000..cb76fa9
--- /dev/null
+++ b/64620-h/images/plt_031.jpg
diff --git a/64620-h/images/plt_032.jpg b/64620-h/images/plt_032.jpg
new file mode 100644
index 0000000..5594f14
--- /dev/null
+++ b/64620-h/images/plt_032.jpg
diff --git a/64620-h/images/plt_033.jpg b/64620-h/images/plt_033.jpg
new file mode 100644
index 0000000..fba6d85
--- /dev/null
+++ b/64620-h/images/plt_033.jpg
diff --git a/64620-h/images/plt_034.jpg b/64620-h/images/plt_034.jpg
new file mode 100644
index 0000000..b0b8204
--- /dev/null
+++ b/64620-h/images/plt_034.jpg
diff --git a/64620-h/images/plt_035.jpg b/64620-h/images/plt_035.jpg
new file mode 100644
index 0000000..0270b84
--- /dev/null
+++ b/64620-h/images/plt_035.jpg
diff --git a/64620-h/images/plt_036.jpg b/64620-h/images/plt_036.jpg
new file mode 100644
index 0000000..3d5e514
--- /dev/null
+++ b/64620-h/images/plt_036.jpg
diff --git a/64620-h/images/plt_037.jpg b/64620-h/images/plt_037.jpg
new file mode 100644
index 0000000..005a05e
--- /dev/null
+++ b/64620-h/images/plt_037.jpg
diff --git a/64620-h/images/plt_038.jpg b/64620-h/images/plt_038.jpg
new file mode 100644
index 0000000..e034031
--- /dev/null
+++ b/64620-h/images/plt_038.jpg
diff --git a/64620-h/images/plt_039.jpg b/64620-h/images/plt_039.jpg
new file mode 100644
index 0000000..1651998
--- /dev/null
+++ b/64620-h/images/plt_039.jpg
diff --git a/64620-h/images/plt_040.jpg b/64620-h/images/plt_040.jpg
new file mode 100644
index 0000000..e1506a4
--- /dev/null
+++ b/64620-h/images/plt_040.jpg
diff --git a/64620-h/images/plt_041.jpg b/64620-h/images/plt_041.jpg
new file mode 100644
index 0000000..d9ab237
--- /dev/null
+++ b/64620-h/images/plt_041.jpg
diff --git a/64620-h/images/plt_042.jpg b/64620-h/images/plt_042.jpg
new file mode 100644
index 0000000..d70a735
--- /dev/null
+++ b/64620-h/images/plt_042.jpg
diff --git a/64620-h/images/plt_043.jpg b/64620-h/images/plt_043.jpg
new file mode 100644
index 0000000..6d82075
--- /dev/null
+++ b/64620-h/images/plt_043.jpg
diff --git a/64620-h/images/plt_044.jpg b/64620-h/images/plt_044.jpg
new file mode 100644
index 0000000..3f9e3e0
--- /dev/null
+++ b/64620-h/images/plt_044.jpg
diff --git a/64620-h/images/plt_045.jpg b/64620-h/images/plt_045.jpg
new file mode 100644
index 0000000..3486905
--- /dev/null
+++ b/64620-h/images/plt_045.jpg
diff --git a/64620-h/images/plt_046.jpg b/64620-h/images/plt_046.jpg
new file mode 100644
index 0000000..73152f5
--- /dev/null
+++ b/64620-h/images/plt_046.jpg
diff --git a/64620-h/images/plt_047.jpg b/64620-h/images/plt_047.jpg
new file mode 100644
index 0000000..65de968
--- /dev/null
+++ b/64620-h/images/plt_047.jpg
diff --git a/64620-h/images/plt_048.jpg b/64620-h/images/plt_048.jpg
new file mode 100644
index 0000000..37a33e1
--- /dev/null
+++ b/64620-h/images/plt_048.jpg
diff --git a/64620-h/images/plt_049.jpg b/64620-h/images/plt_049.jpg
new file mode 100644
index 0000000..4f401d4
--- /dev/null
+++ b/64620-h/images/plt_049.jpg
diff --git a/64620-h/images/plt_050.jpg b/64620-h/images/plt_050.jpg
new file mode 100644
index 0000000..3a5040e
--- /dev/null
+++ b/64620-h/images/plt_050.jpg
diff --git a/64620-h/images/plt_051.jpg b/64620-h/images/plt_051.jpg
new file mode 100644
index 0000000..7a679da
--- /dev/null
+++ b/64620-h/images/plt_051.jpg
diff --git a/64620-h/images/plt_052.jpg b/64620-h/images/plt_052.jpg
new file mode 100644
index 0000000..1903f8f
--- /dev/null
+++ b/64620-h/images/plt_052.jpg
diff --git a/64620-h/images/plt_053.jpg b/64620-h/images/plt_053.jpg
new file mode 100644
index 0000000..7bda9c3
--- /dev/null
+++ b/64620-h/images/plt_053.jpg
diff --git a/64620-h/images/plt_054.jpg b/64620-h/images/plt_054.jpg
new file mode 100644
index 0000000..2fa5db9
--- /dev/null
+++ b/64620-h/images/plt_054.jpg
diff --git a/64620-h/images/plt_055.jpg b/64620-h/images/plt_055.jpg
new file mode 100644
index 0000000..4abe33f
--- /dev/null
+++ b/64620-h/images/plt_055.jpg
diff --git a/64620-h/images/plt_056.jpg b/64620-h/images/plt_056.jpg
new file mode 100644
index 0000000..2114322
--- /dev/null
+++ b/64620-h/images/plt_056.jpg
diff --git a/64620-h/images/plt_057.jpg b/64620-h/images/plt_057.jpg
new file mode 100644
index 0000000..8c6d7da
--- /dev/null
+++ b/64620-h/images/plt_057.jpg
diff --git a/64620-h/images/plt_058.jpg b/64620-h/images/plt_058.jpg
new file mode 100644
index 0000000..61d7f87
--- /dev/null
+++ b/64620-h/images/plt_058.jpg
diff --git a/64620-h/images/plt_059.jpg b/64620-h/images/plt_059.jpg
new file mode 100644
index 0000000..9fcf249
--- /dev/null
+++ b/64620-h/images/plt_059.jpg
diff --git a/64620-h/images/plt_060.jpg b/64620-h/images/plt_060.jpg
new file mode 100644
index 0000000..01f0453
--- /dev/null
+++ b/64620-h/images/plt_060.jpg
diff --git a/64620-h/images/plt_061.jpg b/64620-h/images/plt_061.jpg
new file mode 100644
index 0000000..8a80d7e
--- /dev/null
+++ b/64620-h/images/plt_061.jpg
diff --git a/64620-h/images/plt_062.jpg b/64620-h/images/plt_062.jpg
new file mode 100644
index 0000000..c25798b
--- /dev/null
+++ b/64620-h/images/plt_062.jpg
diff --git a/64620-h/images/plt_063.jpg b/64620-h/images/plt_063.jpg
new file mode 100644
index 0000000..baa8c0f
--- /dev/null
+++ b/64620-h/images/plt_063.jpg
diff --git a/64620-h/images/plt_064.jpg b/64620-h/images/plt_064.jpg
new file mode 100644
index 0000000..03eb566
--- /dev/null
+++ b/64620-h/images/plt_064.jpg
diff --git a/64620-h/images/plt_065.jpg b/64620-h/images/plt_065.jpg
new file mode 100644
index 0000000..0f0badf
--- /dev/null
+++ b/64620-h/images/plt_065.jpg
diff --git a/64620-h/images/plt_066.jpg b/64620-h/images/plt_066.jpg
new file mode 100644
index 0000000..13ae2e0
--- /dev/null
+++ b/64620-h/images/plt_066.jpg
diff --git a/64620-h/images/plt_067.jpg b/64620-h/images/plt_067.jpg
new file mode 100644
index 0000000..c64fb5d
--- /dev/null
+++ b/64620-h/images/plt_067.jpg
diff --git a/64620-h/images/plt_068.jpg b/64620-h/images/plt_068.jpg
new file mode 100644
index 0000000..5df9b97
--- /dev/null
+++ b/64620-h/images/plt_068.jpg
diff --git a/64620-h/images/plt_069.jpg b/64620-h/images/plt_069.jpg
new file mode 100644
index 0000000..090e8af
--- /dev/null
+++ b/64620-h/images/plt_069.jpg
diff --git a/64620-h/images/plt_070.jpg b/64620-h/images/plt_070.jpg
new file mode 100644
index 0000000..afc7196
--- /dev/null
+++ b/64620-h/images/plt_070.jpg
diff --git a/64620-h/images/plt_071.jpg b/64620-h/images/plt_071.jpg
new file mode 100644
index 0000000..a770c54
--- /dev/null
+++ b/64620-h/images/plt_071.jpg
diff --git a/64620-h/images/plt_072.jpg b/64620-h/images/plt_072.jpg
new file mode 100644
index 0000000..ee8a8ff
--- /dev/null
+++ b/64620-h/images/plt_072.jpg
diff --git a/64620-h/images/plt_073.jpg b/64620-h/images/plt_073.jpg
new file mode 100644
index 0000000..e530c20
--- /dev/null
+++ b/64620-h/images/plt_073.jpg
diff --git a/64620-h/images/plt_074.jpg b/64620-h/images/plt_074.jpg
new file mode 100644
index 0000000..2aa41a1
--- /dev/null
+++ b/64620-h/images/plt_074.jpg
diff --git a/64620-h/images/plt_075.jpg b/64620-h/images/plt_075.jpg
new file mode 100644
index 0000000..3042d3b
--- /dev/null
+++ b/64620-h/images/plt_075.jpg
diff --git a/64620-h/images/plt_076.jpg b/64620-h/images/plt_076.jpg
new file mode 100644
index 0000000..f2c0224
--- /dev/null
+++ b/64620-h/images/plt_076.jpg
diff --git a/64620-h/images/plt_077.jpg b/64620-h/images/plt_077.jpg
new file mode 100644
index 0000000..c4c5246
--- /dev/null
+++ b/64620-h/images/plt_077.jpg
diff --git a/64620-h/images/plt_078.jpg b/64620-h/images/plt_078.jpg
new file mode 100644
index 0000000..a371b71
--- /dev/null
+++ b/64620-h/images/plt_078.jpg
diff --git a/64620-h/images/plt_079.jpg b/64620-h/images/plt_079.jpg
new file mode 100644
index 0000000..463efb2
--- /dev/null
+++ b/64620-h/images/plt_079.jpg
diff --git a/64620-h/images/plt_080.jpg b/64620-h/images/plt_080.jpg
new file mode 100644
index 0000000..6533887
--- /dev/null
+++ b/64620-h/images/plt_080.jpg
diff --git a/64620-h/images/plt_081.jpg b/64620-h/images/plt_081.jpg
new file mode 100644
index 0000000..0cb595e
--- /dev/null
+++ b/64620-h/images/plt_081.jpg
diff --git a/64620-h/images/plt_082.jpg b/64620-h/images/plt_082.jpg
new file mode 100644
index 0000000..4ee9c0b
--- /dev/null
+++ b/64620-h/images/plt_082.jpg
diff --git a/64620-h/images/plt_083.jpg b/64620-h/images/plt_083.jpg
new file mode 100644
index 0000000..a457534
--- /dev/null
+++ b/64620-h/images/plt_083.jpg
diff --git a/64620-h/images/plt_084.jpg b/64620-h/images/plt_084.jpg
new file mode 100644
index 0000000..c8c083e
--- /dev/null
+++ b/64620-h/images/plt_084.jpg
diff --git a/64620-h/images/plt_085.jpg b/64620-h/images/plt_085.jpg
new file mode 100644
index 0000000..f09a8e8
--- /dev/null
+++ b/64620-h/images/plt_085.jpg
diff --git a/64620-h/images/plt_086.jpg b/64620-h/images/plt_086.jpg
new file mode 100644
index 0000000..0edc8d7
--- /dev/null
+++ b/64620-h/images/plt_086.jpg
diff --git a/64620-h/images/plt_087.jpg b/64620-h/images/plt_087.jpg
new file mode 100644
index 0000000..f8adf59
--- /dev/null
+++ b/64620-h/images/plt_087.jpg
diff --git a/64620-h/images/plt_088.jpg b/64620-h/images/plt_088.jpg
new file mode 100644
index 0000000..3a5287a
--- /dev/null
+++ b/64620-h/images/plt_088.jpg
diff --git a/64620-h/images/plt_089.jpg b/64620-h/images/plt_089.jpg
new file mode 100644
index 0000000..d315515
--- /dev/null
+++ b/64620-h/images/plt_089.jpg
diff --git a/64620-h/images/plt_090.jpg b/64620-h/images/plt_090.jpg
new file mode 100644
index 0000000..35020c1
--- /dev/null
+++ b/64620-h/images/plt_090.jpg
diff --git a/64620-h/images/plt_091.jpg b/64620-h/images/plt_091.jpg
new file mode 100644
index 0000000..e18f303
--- /dev/null
+++ b/64620-h/images/plt_091.jpg
diff --git a/64620-h/images/plt_092.jpg b/64620-h/images/plt_092.jpg
new file mode 100644
index 0000000..92bb6cf
--- /dev/null
+++ b/64620-h/images/plt_092.jpg
diff --git a/64620-h/images/plt_093.jpg b/64620-h/images/plt_093.jpg
new file mode 100644
index 0000000..12de7b6
--- /dev/null
+++ b/64620-h/images/plt_093.jpg
diff --git a/64620-h/images/plt_094.jpg b/64620-h/images/plt_094.jpg
new file mode 100644
index 0000000..02cd68a
--- /dev/null
+++ b/64620-h/images/plt_094.jpg
diff --git a/64620-h/images/plt_095.jpg b/64620-h/images/plt_095.jpg
new file mode 100644
index 0000000..c40ac12
--- /dev/null
+++ b/64620-h/images/plt_095.jpg
diff --git a/64620-h/images/plt_096.jpg b/64620-h/images/plt_096.jpg
new file mode 100644
index 0000000..90197d1
--- /dev/null
+++ b/64620-h/images/plt_096.jpg
diff --git a/64620-h/images/plt_097.jpg b/64620-h/images/plt_097.jpg
new file mode 100644
index 0000000..7d1a7b7
--- /dev/null
+++ b/64620-h/images/plt_097.jpg
diff --git a/64620-h/images/plt_098.jpg b/64620-h/images/plt_098.jpg
new file mode 100644
index 0000000..a9919cf
--- /dev/null
+++ b/64620-h/images/plt_098.jpg
diff --git a/64620-h/images/plt_099.jpg b/64620-h/images/plt_099.jpg
new file mode 100644
index 0000000..65e7bd2
--- /dev/null
+++ b/64620-h/images/plt_099.jpg
diff --git a/64620-h/images/plt_100.jpg b/64620-h/images/plt_100.jpg
new file mode 100644
index 0000000..70602ca
--- /dev/null
+++ b/64620-h/images/plt_100.jpg
diff --git a/64620-h/images/plt_101.jpg b/64620-h/images/plt_101.jpg
new file mode 100644
index 0000000..40d321a
--- /dev/null
+++ b/64620-h/images/plt_101.jpg
diff --git a/64620-h/images/plt_102.jpg b/64620-h/images/plt_102.jpg
new file mode 100644
index 0000000..17a7ba0
--- /dev/null
+++ b/64620-h/images/plt_102.jpg
diff --git a/64620-h/images/plt_103.jpg b/64620-h/images/plt_103.jpg
new file mode 100644
index 0000000..198172c
--- /dev/null
+++ b/64620-h/images/plt_103.jpg
diff --git a/64620-h/images/plt_104.jpg b/64620-h/images/plt_104.jpg
new file mode 100644
index 0000000..68e7785
--- /dev/null
+++ b/64620-h/images/plt_104.jpg
diff --git a/64620-h/images/plt_105.jpg b/64620-h/images/plt_105.jpg
new file mode 100644
index 0000000..bbc3b55
--- /dev/null
+++ b/64620-h/images/plt_105.jpg
diff --git a/64620-h/images/plt_106.jpg b/64620-h/images/plt_106.jpg
new file mode 100644
index 0000000..5810604
--- /dev/null
+++ b/64620-h/images/plt_106.jpg
diff --git a/64620-h/images/plt_107.jpg b/64620-h/images/plt_107.jpg
new file mode 100644
index 0000000..9ada492
--- /dev/null
+++ b/64620-h/images/plt_107.jpg
diff --git a/64620-h/images/plt_108.jpg b/64620-h/images/plt_108.jpg
new file mode 100644
index 0000000..446f1aa
--- /dev/null
+++ b/64620-h/images/plt_108.jpg
diff --git a/64620-h/images/plt_109.jpg b/64620-h/images/plt_109.jpg
new file mode 100644
index 0000000..a8f0538
--- /dev/null
+++ b/64620-h/images/plt_109.jpg
diff --git a/64620-h/images/plt_110.jpg b/64620-h/images/plt_110.jpg
new file mode 100644
index 0000000..47c6500
--- /dev/null
+++ b/64620-h/images/plt_110.jpg
diff --git a/64620-h/images/plt_111.jpg b/64620-h/images/plt_111.jpg
new file mode 100644
index 0000000..b4d51f7
--- /dev/null
+++ b/64620-h/images/plt_111.jpg
diff --git a/64620-h/images/plt_112.jpg b/64620-h/images/plt_112.jpg
new file mode 100644
index 0000000..0cc8d54
--- /dev/null
+++ b/64620-h/images/plt_112.jpg
diff --git a/64620-h/images/plt_113.jpg b/64620-h/images/plt_113.jpg
new file mode 100644
index 0000000..603833c
--- /dev/null
+++ b/64620-h/images/plt_113.jpg
diff --git a/64620-h/images/plt_114.jpg b/64620-h/images/plt_114.jpg
new file mode 100644
index 0000000..7fac58a
--- /dev/null
+++ b/64620-h/images/plt_114.jpg
diff --git a/64620-h/images/plt_115.jpg b/64620-h/images/plt_115.jpg
new file mode 100644
index 0000000..12f2d65
--- /dev/null
+++ b/64620-h/images/plt_115.jpg
diff --git a/64620-h/images/plt_116.jpg b/64620-h/images/plt_116.jpg
new file mode 100644
index 0000000..873138a
--- /dev/null
+++ b/64620-h/images/plt_116.jpg
diff --git a/64620-h/images/plt_117.jpg b/64620-h/images/plt_117.jpg
new file mode 100644
index 0000000..f04c44e
--- /dev/null
+++ b/64620-h/images/plt_117.jpg
diff --git a/64620-h/images/plt_118.jpg b/64620-h/images/plt_118.jpg
new file mode 100644
index 0000000..b289ce7
--- /dev/null
+++ b/64620-h/images/plt_118.jpg
diff --git a/64620-h/images/plt_119.jpg b/64620-h/images/plt_119.jpg
new file mode 100644
index 0000000..4732adc
--- /dev/null
+++ b/64620-h/images/plt_119.jpg
diff --git a/64620-h/images/plt_120.jpg b/64620-h/images/plt_120.jpg
new file mode 100644
index 0000000..fd1c97b
--- /dev/null
+++ b/64620-h/images/plt_120.jpg
diff --git a/64620-h/images/plt_121.jpg b/64620-h/images/plt_121.jpg
new file mode 100644
index 0000000..27dc1d2
--- /dev/null
+++ b/64620-h/images/plt_121.jpg
diff --git a/64620-h/images/plt_122.jpg b/64620-h/images/plt_122.jpg
new file mode 100644
index 0000000..1f67f06
--- /dev/null
+++ b/64620-h/images/plt_122.jpg
diff --git a/64620-h/images/plt_123.jpg b/64620-h/images/plt_123.jpg
new file mode 100644
index 0000000..2ccb417
--- /dev/null
+++ b/64620-h/images/plt_123.jpg
diff --git a/64620-h/images/plt_124.jpg b/64620-h/images/plt_124.jpg
new file mode 100644
index 0000000..af7cd64
--- /dev/null
+++ b/64620-h/images/plt_124.jpg
diff --git a/64620-h/images/plt_125.jpg b/64620-h/images/plt_125.jpg
new file mode 100644
index 0000000..b4f083d
--- /dev/null
+++ b/64620-h/images/plt_125.jpg
diff --git a/64620-h/images/plt_126.jpg b/64620-h/images/plt_126.jpg
new file mode 100644
index 0000000..84f3b62
--- /dev/null
+++ b/64620-h/images/plt_126.jpg
diff --git a/64620-h/images/plt_127.jpg b/64620-h/images/plt_127.jpg
new file mode 100644
index 0000000..e5626cc
--- /dev/null
+++ b/64620-h/images/plt_127.jpg
diff --git a/64620-h/images/plt_128.jpg b/64620-h/images/plt_128.jpg
new file mode 100644
index 0000000..e64c36c
--- /dev/null
+++ b/64620-h/images/plt_128.jpg
diff --git a/64620-h/images/plt_129.jpg b/64620-h/images/plt_129.jpg
new file mode 100644
index 0000000..de40db3
--- /dev/null
+++ b/64620-h/images/plt_129.jpg
diff --git a/64620-h/images/plt_130.jpg b/64620-h/images/plt_130.jpg
new file mode 100644
index 0000000..c6fc08b
--- /dev/null
+++ b/64620-h/images/plt_130.jpg
diff --git a/64620-h/images/plt_131.jpg b/64620-h/images/plt_131.jpg
new file mode 100644
index 0000000..b01e843
--- /dev/null
+++ b/64620-h/images/plt_131.jpg
diff --git a/64620-h/images/plt_132.jpg b/64620-h/images/plt_132.jpg
new file mode 100644
index 0000000..2647e86
--- /dev/null
+++ b/64620-h/images/plt_132.jpg
diff --git a/64620-h/images/plt_133.jpg b/64620-h/images/plt_133.jpg
new file mode 100644
index 0000000..caa58d0
--- /dev/null
+++ b/64620-h/images/plt_133.jpg
diff --git a/64620-h/images/plt_134.jpg b/64620-h/images/plt_134.jpg
new file mode 100644
index 0000000..5a8389a
--- /dev/null
+++ b/64620-h/images/plt_134.jpg
diff --git a/64620-h/images/plt_135.jpg b/64620-h/images/plt_135.jpg
new file mode 100644
index 0000000..650b6bf
--- /dev/null
+++ b/64620-h/images/plt_135.jpg
diff --git a/64620-h/images/plt_136.jpg b/64620-h/images/plt_136.jpg
new file mode 100644
index 0000000..3531b68
--- /dev/null
+++ b/64620-h/images/plt_136.jpg
diff --git a/64620-h/images/plt_137.jpg b/64620-h/images/plt_137.jpg
new file mode 100644
index 0000000..a20f213
--- /dev/null
+++ b/64620-h/images/plt_137.jpg
diff --git a/64620-h/images/plt_138.jpg b/64620-h/images/plt_138.jpg
new file mode 100644
index 0000000..08b72fd
--- /dev/null
+++ b/64620-h/images/plt_138.jpg
diff --git a/64620-h/images/plt_139.jpg b/64620-h/images/plt_139.jpg
new file mode 100644
index 0000000..8f01b2d
--- /dev/null
+++ b/64620-h/images/plt_139.jpg
diff --git a/64620-h/images/plt_140.jpg b/64620-h/images/plt_140.jpg
new file mode 100644
index 0000000..5dd1884
--- /dev/null
+++ b/64620-h/images/plt_140.jpg
diff --git a/64620-h/images/plt_141.jpg b/64620-h/images/plt_141.jpg
new file mode 100644
index 0000000..ad25d17
--- /dev/null
+++ b/64620-h/images/plt_141.jpg
diff --git a/64620-h/images/plt_142.jpg b/64620-h/images/plt_142.jpg
new file mode 100644
index 0000000..0c65738
--- /dev/null
+++ b/64620-h/images/plt_142.jpg
diff --git a/64620-h/images/plt_143.jpg b/64620-h/images/plt_143.jpg
new file mode 100644
index 0000000..d292a4a
--- /dev/null
+++ b/64620-h/images/plt_143.jpg
diff --git a/64620-h/images/plt_144.jpg b/64620-h/images/plt_144.jpg
new file mode 100644
index 0000000..17a388c
--- /dev/null
+++ b/64620-h/images/plt_144.jpg
diff --git a/64620-h/images/plt_145.jpg b/64620-h/images/plt_145.jpg
new file mode 100644
index 0000000..eb6019c
--- /dev/null
+++ b/64620-h/images/plt_145.jpg
diff --git a/64620-h/images/plt_146.jpg b/64620-h/images/plt_146.jpg
new file mode 100644
index 0000000..bab120c
--- /dev/null
+++ b/64620-h/images/plt_146.jpg
diff --git a/64620-h/images/plt_147.jpg b/64620-h/images/plt_147.jpg
new file mode 100644
index 0000000..98b120a
--- /dev/null
+++ b/64620-h/images/plt_147.jpg
diff --git a/64620-h/images/plt_148.jpg b/64620-h/images/plt_148.jpg
new file mode 100644
index 0000000..a3b51ff
--- /dev/null
+++ b/64620-h/images/plt_148.jpg
diff --git a/64620-h/images/plt_149.jpg b/64620-h/images/plt_149.jpg
new file mode 100644
index 0000000..aaefb7f
--- /dev/null
+++ b/64620-h/images/plt_149.jpg
diff --git a/64620-h/images/plt_150.jpg b/64620-h/images/plt_150.jpg
new file mode 100644
index 0000000..85a83bf
--- /dev/null
+++ b/64620-h/images/plt_150.jpg
diff --git a/64620-h/images/plt_151.jpg b/64620-h/images/plt_151.jpg
new file mode 100644
index 0000000..8002625
--- /dev/null
+++ b/64620-h/images/plt_151.jpg
diff --git a/64620-h/images/plt_152.jpg b/64620-h/images/plt_152.jpg
new file mode 100644
index 0000000..0dfa5c3
--- /dev/null
+++ b/64620-h/images/plt_152.jpg
diff --git a/64620-h/images/plt_153.jpg b/64620-h/images/plt_153.jpg
new file mode 100644
index 0000000..0386f99
--- /dev/null
+++ b/64620-h/images/plt_153.jpg
diff --git a/64620-h/images/plt_154.jpg b/64620-h/images/plt_154.jpg
new file mode 100644
index 0000000..5159972
--- /dev/null
+++ b/64620-h/images/plt_154.jpg
diff --git a/64620-h/images/plt_155.jpg b/64620-h/images/plt_155.jpg
new file mode 100644
index 0000000..9435f6c
--- /dev/null
+++ b/64620-h/images/plt_155.jpg
diff --git a/64620-h/images/plt_156.jpg b/64620-h/images/plt_156.jpg
new file mode 100644
index 0000000..c045553
--- /dev/null
+++ b/64620-h/images/plt_156.jpg
diff --git a/64620-h/images/plt_157.jpg b/64620-h/images/plt_157.jpg
new file mode 100644
index 0000000..3f1eeb1
--- /dev/null
+++ b/64620-h/images/plt_157.jpg
diff --git a/64620-h/images/plt_158.jpg b/64620-h/images/plt_158.jpg
new file mode 100644
index 0000000..29d1d7a
--- /dev/null
+++ b/64620-h/images/plt_158.jpg
diff --git a/64620-h/images/plt_159.jpg b/64620-h/images/plt_159.jpg
new file mode 100644
index 0000000..cfa9a1e
--- /dev/null
+++ b/64620-h/images/plt_159.jpg
diff --git a/64620-h/images/plt_160.jpg b/64620-h/images/plt_160.jpg
new file mode 100644
index 0000000..03413c2
--- /dev/null
+++ b/64620-h/images/plt_160.jpg
diff --git a/64620-h/images/plt_161.jpg b/64620-h/images/plt_161.jpg
new file mode 100644
index 0000000..db6c8ad
--- /dev/null
+++ b/64620-h/images/plt_161.jpg
diff --git a/64620-h/images/plt_162.jpg b/64620-h/images/plt_162.jpg
new file mode 100644
index 0000000..13f03d2
--- /dev/null
+++ b/64620-h/images/plt_162.jpg
diff --git a/64620-h/images/plt_163.jpg b/64620-h/images/plt_163.jpg
new file mode 100644
index 0000000..c34b207
--- /dev/null
+++ b/64620-h/images/plt_163.jpg
diff --git a/64620-h/images/plt_164.jpg b/64620-h/images/plt_164.jpg
new file mode 100644
index 0000000..918c4c8
--- /dev/null
+++ b/64620-h/images/plt_164.jpg
diff --git a/64620-h/images/plt_165.jpg b/64620-h/images/plt_165.jpg
new file mode 100644
index 0000000..69e64da
--- /dev/null
+++ b/64620-h/images/plt_165.jpg
diff --git a/64620-h/images/plt_166.jpg b/64620-h/images/plt_166.jpg
new file mode 100644
index 0000000..7c23112
--- /dev/null
+++ b/64620-h/images/plt_166.jpg
diff --git a/64620-h/images/plt_167.jpg b/64620-h/images/plt_167.jpg
new file mode 100644
index 0000000..4022c50
--- /dev/null
+++ b/64620-h/images/plt_167.jpg
diff --git a/64620-h/images/plt_168.jpg b/64620-h/images/plt_168.jpg
new file mode 100644
index 0000000..3429934
--- /dev/null
+++ b/64620-h/images/plt_168.jpg
diff --git a/64620-h/images/plt_169.jpg b/64620-h/images/plt_169.jpg
new file mode 100644
index 0000000..ee280aa
--- /dev/null
+++ b/64620-h/images/plt_169.jpg
diff --git a/64620-h/images/plt_170.jpg b/64620-h/images/plt_170.jpg
new file mode 100644
index 0000000..297daa0
--- /dev/null
+++ b/64620-h/images/plt_170.jpg
diff --git a/64620-h/images/plt_171.jpg b/64620-h/images/plt_171.jpg
new file mode 100644
index 0000000..3669274
--- /dev/null
+++ b/64620-h/images/plt_171.jpg
diff --git a/64620-h/images/plt_172.jpg b/64620-h/images/plt_172.jpg
new file mode 100644
index 0000000..629a81a
--- /dev/null
+++ b/64620-h/images/plt_172.jpg
diff --git a/64620-h/images/plt_173.jpg b/64620-h/images/plt_173.jpg
new file mode 100644
index 0000000..fe80010
--- /dev/null
+++ b/64620-h/images/plt_173.jpg
diff --git a/64620-h/images/plt_174.jpg b/64620-h/images/plt_174.jpg
new file mode 100644
index 0000000..6abd50d
--- /dev/null
+++ b/64620-h/images/plt_174.jpg
diff --git a/64620-h/images/plt_175.jpg b/64620-h/images/plt_175.jpg
new file mode 100644
index 0000000..83dea40
--- /dev/null
+++ b/64620-h/images/plt_175.jpg
diff --git a/64620-h/images/plt_176.jpg b/64620-h/images/plt_176.jpg
new file mode 100644
index 0000000..9651cae
--- /dev/null
+++ b/64620-h/images/plt_176.jpg
diff --git a/64620-h/images/plt_177.jpg b/64620-h/images/plt_177.jpg
new file mode 100644
index 0000000..276a149
--- /dev/null
+++ b/64620-h/images/plt_177.jpg
diff --git a/64620-h/images/plt_178.jpg b/64620-h/images/plt_178.jpg
new file mode 100644
index 0000000..b23e420
--- /dev/null
+++ b/64620-h/images/plt_178.jpg
diff --git a/64620-h/images/plt_179.jpg b/64620-h/images/plt_179.jpg
new file mode 100644
index 0000000..6ab01a1
--- /dev/null
+++ b/64620-h/images/plt_179.jpg
diff --git a/64620-h/images/plt_180.jpg b/64620-h/images/plt_180.jpg
new file mode 100644
index 0000000..3ca53b7
--- /dev/null
+++ b/64620-h/images/plt_180.jpg
diff --git a/64620-h/images/plt_181.jpg b/64620-h/images/plt_181.jpg
new file mode 100644
index 0000000..e194c1b
--- /dev/null
+++ b/64620-h/images/plt_181.jpg
diff --git a/64620-h/images/plt_182.jpg b/64620-h/images/plt_182.jpg
new file mode 100644
index 0000000..a9ceb29
--- /dev/null
+++ b/64620-h/images/plt_182.jpg
diff --git a/64620-h/images/plt_183.jpg b/64620-h/images/plt_183.jpg
new file mode 100644
index 0000000..f222b21
--- /dev/null
+++ b/64620-h/images/plt_183.jpg
diff --git a/64620-h/images/plt_184.jpg b/64620-h/images/plt_184.jpg
new file mode 100644
index 0000000..46c7930
--- /dev/null
+++ b/64620-h/images/plt_184.jpg
diff --git a/64620-h/images/plt_185.jpg b/64620-h/images/plt_185.jpg
new file mode 100644
index 0000000..2d63f03
--- /dev/null
+++ b/64620-h/images/plt_185.jpg
diff --git a/64620-h/images/plt_186.jpg b/64620-h/images/plt_186.jpg
new file mode 100644
index 0000000..088b97d
--- /dev/null
+++ b/64620-h/images/plt_186.jpg
diff --git a/64620-h/images/plt_187.jpg b/64620-h/images/plt_187.jpg
new file mode 100644
index 0000000..7da8587
--- /dev/null
+++ b/64620-h/images/plt_187.jpg
diff --git a/64620-h/images/plt_188.jpg b/64620-h/images/plt_188.jpg
new file mode 100644
index 0000000..4a9869f
--- /dev/null
+++ b/64620-h/images/plt_188.jpg
diff --git a/64620-h/images/plt_189.jpg b/64620-h/images/plt_189.jpg
new file mode 100644
index 0000000..b12c980
--- /dev/null
+++ b/64620-h/images/plt_189.jpg
diff --git a/64620-h/images/plt_190.jpg b/64620-h/images/plt_190.jpg
new file mode 100644
index 0000000..89f4609
--- /dev/null
+++ b/64620-h/images/plt_190.jpg
diff --git a/64620-h/images/plt_191.jpg b/64620-h/images/plt_191.jpg
new file mode 100644
index 0000000..34aad8e
--- /dev/null
+++ b/64620-h/images/plt_191.jpg
diff --git a/64620-h/images/plt_192.jpg b/64620-h/images/plt_192.jpg
new file mode 100644
index 0000000..3ac0c71
--- /dev/null
+++ b/64620-h/images/plt_192.jpg
diff --git a/64620-h/images/plt_193.jpg b/64620-h/images/plt_193.jpg
new file mode 100644
index 0000000..059bd8d
--- /dev/null
+++ b/64620-h/images/plt_193.jpg
diff --git a/64620-h/images/plt_194.jpg b/64620-h/images/plt_194.jpg
new file mode 100644
index 0000000..7bcc7ed
--- /dev/null
+++ b/64620-h/images/plt_194.jpg
diff --git a/64620-h/images/plt_195.jpg b/64620-h/images/plt_195.jpg
new file mode 100644
index 0000000..2cc94c4
--- /dev/null
+++ b/64620-h/images/plt_195.jpg
diff --git a/64620-h/images/plt_196.jpg b/64620-h/images/plt_196.jpg
new file mode 100644
index 0000000..77302ac
--- /dev/null
+++ b/64620-h/images/plt_196.jpg
diff --git a/64620-h/images/plt_197.jpg b/64620-h/images/plt_197.jpg
new file mode 100644
index 0000000..8b440ed
--- /dev/null
+++ b/64620-h/images/plt_197.jpg
diff --git a/64620-h/images/plt_198.jpg b/64620-h/images/plt_198.jpg
new file mode 100644
index 0000000..e7c69d3
--- /dev/null
+++ b/64620-h/images/plt_198.jpg
diff --git a/64620-h/images/plt_199.jpg b/64620-h/images/plt_199.jpg
new file mode 100644
index 0000000..6edd9ce
--- /dev/null
+++ b/64620-h/images/plt_199.jpg
diff --git a/64620-h/images/plt_200.jpg b/64620-h/images/plt_200.jpg
new file mode 100644
index 0000000..4aebf1f
--- /dev/null
+++ b/64620-h/images/plt_200.jpg
diff --git a/64620-h/images/plt_201.jpg b/64620-h/images/plt_201.jpg
new file mode 100644
index 0000000..c43ffe0
--- /dev/null
+++ b/64620-h/images/plt_201.jpg
diff --git a/64620-h/images/plt_202.jpg b/64620-h/images/plt_202.jpg
new file mode 100644
index 0000000..b934adb
--- /dev/null
+++ b/64620-h/images/plt_202.jpg
diff --git a/64620-h/images/plt_203.jpg b/64620-h/images/plt_203.jpg
new file mode 100644
index 0000000..6647d82
--- /dev/null
+++ b/64620-h/images/plt_203.jpg
diff --git a/64620-h/images/plt_204.jpg b/64620-h/images/plt_204.jpg
new file mode 100644
index 0000000..fd92f39
--- /dev/null
+++ b/64620-h/images/plt_204.jpg
diff --git a/64620-h/images/plt_205.jpg b/64620-h/images/plt_205.jpg
new file mode 100644
index 0000000..f350a24
--- /dev/null
+++ b/64620-h/images/plt_205.jpg
diff --git a/64620-h/images/plt_206.jpg b/64620-h/images/plt_206.jpg
new file mode 100644
index 0000000..0460379
--- /dev/null
+++ b/64620-h/images/plt_206.jpg
diff --git a/64620-h/images/plt_207.jpg b/64620-h/images/plt_207.jpg
new file mode 100644
index 0000000..e60c701
--- /dev/null
+++ b/64620-h/images/plt_207.jpg
diff --git a/64620-h/images/plt_208.jpg b/64620-h/images/plt_208.jpg
new file mode 100644
index 0000000..86a3b12
--- /dev/null
+++ b/64620-h/images/plt_208.jpg
diff --git a/64620-h/images/plt_209.jpg b/64620-h/images/plt_209.jpg
new file mode 100644
index 0000000..3a65602
--- /dev/null
+++ b/64620-h/images/plt_209.jpg
diff --git a/64620-h/images/plt_210.jpg b/64620-h/images/plt_210.jpg
new file mode 100644
index 0000000..6ddcb70
--- /dev/null
+++ b/64620-h/images/plt_210.jpg
diff --git a/64620-h/images/plt_211.jpg b/64620-h/images/plt_211.jpg
new file mode 100644
index 0000000..f875d20
--- /dev/null
+++ b/64620-h/images/plt_211.jpg
diff --git a/64620-h/images/plt_212.jpg b/64620-h/images/plt_212.jpg
new file mode 100644
index 0000000..52440f1
--- /dev/null
+++ b/64620-h/images/plt_212.jpg
diff --git a/64620-h/images/plt_213.jpg b/64620-h/images/plt_213.jpg
new file mode 100644
index 0000000..733c942
--- /dev/null
+++ b/64620-h/images/plt_213.jpg
diff --git a/64620-h/images/plt_214.jpg b/64620-h/images/plt_214.jpg
new file mode 100644
index 0000000..f85a4ac
--- /dev/null
+++ b/64620-h/images/plt_214.jpg
diff --git a/64620-h/images/plt_215.jpg b/64620-h/images/plt_215.jpg
new file mode 100644
index 0000000..7d9cd13
--- /dev/null
+++ b/64620-h/images/plt_215.jpg
diff --git a/64620-h/images/plt_216.jpg b/64620-h/images/plt_216.jpg
new file mode 100644
index 0000000..a1236a9
--- /dev/null
+++ b/64620-h/images/plt_216.jpg
diff --git a/64620-h/images/plt_217.jpg b/64620-h/images/plt_217.jpg
new file mode 100644
index 0000000..3e5add5
--- /dev/null
+++ b/64620-h/images/plt_217.jpg
diff --git a/64620-h/images/plt_218.jpg b/64620-h/images/plt_218.jpg
new file mode 100644
index 0000000..5d30243
--- /dev/null
+++ b/64620-h/images/plt_218.jpg
diff --git a/64620-h/images/plt_219.jpg b/64620-h/images/plt_219.jpg
new file mode 100644
index 0000000..7fd6f07
--- /dev/null
+++ b/64620-h/images/plt_219.jpg
diff --git a/64620-h/images/plt_220.jpg b/64620-h/images/plt_220.jpg
new file mode 100644
index 0000000..79df911
--- /dev/null
+++ b/64620-h/images/plt_220.jpg
diff --git a/64620-h/images/plt_221.jpg b/64620-h/images/plt_221.jpg
new file mode 100644
index 0000000..73f4435
--- /dev/null
+++ b/64620-h/images/plt_221.jpg
diff --git a/64620-h/images/plt_222.jpg b/64620-h/images/plt_222.jpg
new file mode 100644
index 0000000..d1718c9
--- /dev/null
+++ b/64620-h/images/plt_222.jpg
diff --git a/64620-h/images/plt_223.jpg b/64620-h/images/plt_223.jpg
new file mode 100644
index 0000000..da73de0
--- /dev/null
+++ b/64620-h/images/plt_223.jpg
diff --git a/64620-h/images/plt_224.jpg b/64620-h/images/plt_224.jpg
new file mode 100644
index 0000000..c0b6f4c
--- /dev/null
+++ b/64620-h/images/plt_224.jpg
diff --git a/64620-h/images/plt_225.jpg b/64620-h/images/plt_225.jpg
new file mode 100644
index 0000000..4a750ca
--- /dev/null
+++ b/64620-h/images/plt_225.jpg
diff --git a/64620-h/images/plt_226.jpg b/64620-h/images/plt_226.jpg
new file mode 100644
index 0000000..201770a
--- /dev/null
+++ b/64620-h/images/plt_226.jpg
diff --git a/64620-h/images/plt_227.jpg b/64620-h/images/plt_227.jpg
new file mode 100644
index 0000000..819a3e4
--- /dev/null
+++ b/64620-h/images/plt_227.jpg
diff --git a/64620-h/images/plt_228.jpg b/64620-h/images/plt_228.jpg
new file mode 100644
index 0000000..7fcd82a
--- /dev/null
+++ b/64620-h/images/plt_228.jpg
diff --git a/64620-h/images/plt_229.jpg b/64620-h/images/plt_229.jpg
new file mode 100644
index 0000000..3a313e1
--- /dev/null
+++ b/64620-h/images/plt_229.jpg
diff --git a/64620-h/images/plt_230.jpg b/64620-h/images/plt_230.jpg
new file mode 100644
index 0000000..da4a4bb
--- /dev/null
+++ b/64620-h/images/plt_230.jpg
diff --git a/64620-h/images/plt_231.jpg b/64620-h/images/plt_231.jpg
new file mode 100644
index 0000000..ba28521
--- /dev/null
+++ b/64620-h/images/plt_231.jpg
diff --git a/64620-h/images/plt_232.jpg b/64620-h/images/plt_232.jpg
new file mode 100644
index 0000000..bc1c25e
--- /dev/null
+++ b/64620-h/images/plt_232.jpg
diff --git a/64620-h/images/plt_233.jpg b/64620-h/images/plt_233.jpg
new file mode 100644
index 0000000..d170d17
--- /dev/null
+++ b/64620-h/images/plt_233.jpg
diff --git a/64620-h/images/plt_234.jpg b/64620-h/images/plt_234.jpg
new file mode 100644
index 0000000..25fc9a6
--- /dev/null
+++ b/64620-h/images/plt_234.jpg
diff --git a/64620-h/images/plt_235.jpg b/64620-h/images/plt_235.jpg
new file mode 100644
index 0000000..91a89bc
--- /dev/null
+++ b/64620-h/images/plt_235.jpg
diff --git a/64620-h/images/plt_236.jpg b/64620-h/images/plt_236.jpg
new file mode 100644
index 0000000..1a2c84b
--- /dev/null
+++ b/64620-h/images/plt_236.jpg
diff --git a/64620-h/images/plt_237.jpg b/64620-h/images/plt_237.jpg
new file mode 100644
index 0000000..960d2f5
--- /dev/null
+++ b/64620-h/images/plt_237.jpg
diff --git a/64620-h/images/plt_238.jpg b/64620-h/images/plt_238.jpg
new file mode 100644
index 0000000..dac3a27
--- /dev/null
+++ b/64620-h/images/plt_238.jpg
diff --git a/64620-h/images/plt_239.jpg b/64620-h/images/plt_239.jpg
new file mode 100644
index 0000000..f5efc31
--- /dev/null
+++ b/64620-h/images/plt_239.jpg
diff --git a/64620-h/images/plt_240.jpg b/64620-h/images/plt_240.jpg
new file mode 100644
index 0000000..6c7db29
--- /dev/null
+++ b/64620-h/images/plt_240.jpg
diff --git a/64620-h/images/plt_241-a.jpg b/64620-h/images/plt_241-a.jpg
new file mode 100644
index 0000000..c8e821e
--- /dev/null
+++ b/64620-h/images/plt_241-a.jpg
diff --git a/64620-h/images/plt_241-b.jpg b/64620-h/images/plt_241-b.jpg
new file mode 100644
index 0000000..4991e7e
--- /dev/null
+++ b/64620-h/images/plt_241-b.jpg
diff --git a/64620-h/images/plt_242.jpg b/64620-h/images/plt_242.jpg
new file mode 100644
index 0000000..bd771cf
--- /dev/null
+++ b/64620-h/images/plt_242.jpg
diff --git a/64620-h/images/plt_243.jpg b/64620-h/images/plt_243.jpg
new file mode 100644
index 0000000..f9609cc
--- /dev/null
+++ b/64620-h/images/plt_243.jpg
diff --git a/64620-h/images/plt_244.jpg b/64620-h/images/plt_244.jpg
new file mode 100644
index 0000000..227b3ef
--- /dev/null
+++ b/64620-h/images/plt_244.jpg
diff --git a/64620-h/images/plt_245.jpg b/64620-h/images/plt_245.jpg
new file mode 100644
index 0000000..555793d
--- /dev/null
+++ b/64620-h/images/plt_245.jpg
diff --git a/64620-h/images/plt_246.jpg b/64620-h/images/plt_246.jpg
new file mode 100644
index 0000000..5cdd47a
--- /dev/null
+++ b/64620-h/images/plt_246.jpg
diff --git a/64620-h/images/plt_247.jpg b/64620-h/images/plt_247.jpg
new file mode 100644
index 0000000..2ff4d10
--- /dev/null
+++ b/64620-h/images/plt_247.jpg
diff --git a/64620-h/images/plt_248.jpg b/64620-h/images/plt_248.jpg
new file mode 100644
index 0000000..c4369d8
--- /dev/null
+++ b/64620-h/images/plt_248.jpg
diff --git a/64620-h/images/plt_249-a.jpg b/64620-h/images/plt_249-a.jpg
new file mode 100644
index 0000000..dd20c2f
--- /dev/null
+++ b/64620-h/images/plt_249-a.jpg
diff --git a/64620-h/images/plt_249-b.jpg b/64620-h/images/plt_249-b.jpg
new file mode 100644
index 0000000..fa36d29
--- /dev/null
+++ b/64620-h/images/plt_249-b.jpg
diff --git a/64620-h/images/plt_250.jpg b/64620-h/images/plt_250.jpg
new file mode 100644
index 0000000..4c6a151
--- /dev/null
+++ b/64620-h/images/plt_250.jpg
diff --git a/64620-h/images/plt_251.jpg b/64620-h/images/plt_251.jpg
new file mode 100644
index 0000000..81556a6
--- /dev/null
+++ b/64620-h/images/plt_251.jpg
diff --git a/64620-h/images/plt_252.jpg b/64620-h/images/plt_252.jpg
new file mode 100644
index 0000000..6f980cb
--- /dev/null
+++ b/64620-h/images/plt_252.jpg
diff --git a/64620-h/images/plt_253.jpg b/64620-h/images/plt_253.jpg
new file mode 100644
index 0000000..02e72fb
--- /dev/null
+++ b/64620-h/images/plt_253.jpg
diff --git a/64620-h/images/plt_254.jpg b/64620-h/images/plt_254.jpg
new file mode 100644
index 0000000..f455408
--- /dev/null
+++ b/64620-h/images/plt_254.jpg
diff --git a/64620-h/images/plt_255.jpg b/64620-h/images/plt_255.jpg
new file mode 100644
index 0000000..396f986
--- /dev/null
+++ b/64620-h/images/plt_255.jpg
diff --git a/64620-h/images/plt_256.jpg b/64620-h/images/plt_256.jpg
new file mode 100644
index 0000000..5dafa0d
--- /dev/null
+++ b/64620-h/images/plt_256.jpg
diff --git a/64620-h/images/plt_257.jpg b/64620-h/images/plt_257.jpg
new file mode 100644
index 0000000..6fa84d3
--- /dev/null
+++ b/64620-h/images/plt_257.jpg
diff --git a/64620-h/images/plt_258.jpg b/64620-h/images/plt_258.jpg
new file mode 100644
index 0000000..315b146
--- /dev/null
+++ b/64620-h/images/plt_258.jpg
diff --git a/64620-h/images/plt_259.jpg b/64620-h/images/plt_259.jpg
new file mode 100644
index 0000000..60c9438
--- /dev/null
+++ b/64620-h/images/plt_259.jpg
diff --git a/64620-h/images/plt_260.jpg b/64620-h/images/plt_260.jpg
new file mode 100644
index 0000000..e6094c4
--- /dev/null
+++ b/64620-h/images/plt_260.jpg
diff --git a/64620-h/images/plt_261.jpg b/64620-h/images/plt_261.jpg
new file mode 100644
index 0000000..2faa7c4
--- /dev/null
+++ b/64620-h/images/plt_261.jpg
diff --git a/64620-h/images/plt_262.jpg b/64620-h/images/plt_262.jpg
new file mode 100644
index 0000000..bd9f038
--- /dev/null
+++ b/64620-h/images/plt_262.jpg
diff --git a/64620-h/images/plt_263.jpg b/64620-h/images/plt_263.jpg
new file mode 100644
index 0000000..e6680b9
--- /dev/null
+++ b/64620-h/images/plt_263.jpg
diff --git a/64620-h/images/plt_264.jpg b/64620-h/images/plt_264.jpg
new file mode 100644
index 0000000..8fb5cf8
--- /dev/null
+++ b/64620-h/images/plt_264.jpg
diff --git a/64620-h/images/plt_265.jpg b/64620-h/images/plt_265.jpg
new file mode 100644
index 0000000..b51a440
--- /dev/null
+++ b/64620-h/images/plt_265.jpg
diff --git a/64620-h/images/plt_266.jpg b/64620-h/images/plt_266.jpg
new file mode 100644
index 0000000..cdd1ebf
--- /dev/null
+++ b/64620-h/images/plt_266.jpg
diff --git a/64620-h/images/plt_267.jpg b/64620-h/images/plt_267.jpg
new file mode 100644
index 0000000..3c11248
--- /dev/null
+++ b/64620-h/images/plt_267.jpg
diff --git a/64620-h/images/plt_268.jpg b/64620-h/images/plt_268.jpg
new file mode 100644
index 0000000..4394058
--- /dev/null
+++ b/64620-h/images/plt_268.jpg
diff --git a/64620-h/images/plt_269.jpg b/64620-h/images/plt_269.jpg
new file mode 100644
index 0000000..b10bdff
--- /dev/null
+++ b/64620-h/images/plt_269.jpg
diff --git a/64620-h/images/plt_270.jpg b/64620-h/images/plt_270.jpg
new file mode 100644
index 0000000..1313572
--- /dev/null
+++ b/64620-h/images/plt_270.jpg
diff --git a/64620-h/images/plt_271.jpg b/64620-h/images/plt_271.jpg
new file mode 100644
index 0000000..856bbd2
--- /dev/null
+++ b/64620-h/images/plt_271.jpg
diff --git a/64620-h/images/plt_272.jpg b/64620-h/images/plt_272.jpg
new file mode 100644
index 0000000..ca2c967
--- /dev/null
+++ b/64620-h/images/plt_272.jpg
diff --git a/64620-h/images/plt_273.jpg b/64620-h/images/plt_273.jpg
new file mode 100644
index 0000000..80d03ac
--- /dev/null
+++ b/64620-h/images/plt_273.jpg
diff --git a/64620-h/images/plt_274.jpg b/64620-h/images/plt_274.jpg
new file mode 100644
index 0000000..b468512
--- /dev/null
+++ b/64620-h/images/plt_274.jpg
diff --git a/64620-h/images/plt_275.jpg b/64620-h/images/plt_275.jpg
new file mode 100644
index 0000000..99faadc
--- /dev/null
+++ b/64620-h/images/plt_275.jpg
diff --git a/64620-h/images/plt_276.jpg b/64620-h/images/plt_276.jpg
new file mode 100644
index 0000000..fdae8cc
--- /dev/null
+++ b/64620-h/images/plt_276.jpg
diff --git a/64620-h/images/plt_277.jpg b/64620-h/images/plt_277.jpg
new file mode 100644
index 0000000..feb7767
--- /dev/null
+++ b/64620-h/images/plt_277.jpg
diff --git a/64620-h/images/plt_278.jpg b/64620-h/images/plt_278.jpg
new file mode 100644
index 0000000..e43ffec
--- /dev/null
+++ b/64620-h/images/plt_278.jpg
diff --git a/64620-h/images/plt_279.jpg b/64620-h/images/plt_279.jpg
new file mode 100644
index 0000000..2349f6c
--- /dev/null
+++ b/64620-h/images/plt_279.jpg
diff --git a/64620-h/images/plt_280.jpg b/64620-h/images/plt_280.jpg
new file mode 100644
index 0000000..dbdee5a
--- /dev/null
+++ b/64620-h/images/plt_280.jpg
diff --git a/64620-h/images/plt_281.jpg b/64620-h/images/plt_281.jpg
new file mode 100644
index 0000000..ee4dca7
--- /dev/null
+++ b/64620-h/images/plt_281.jpg
diff --git a/64620-h/images/plt_282.jpg b/64620-h/images/plt_282.jpg
new file mode 100644
index 0000000..8689e81
--- /dev/null
+++ b/64620-h/images/plt_282.jpg
diff --git a/64620-h/images/plt_283.jpg b/64620-h/images/plt_283.jpg
new file mode 100644
index 0000000..884b903
--- /dev/null
+++ b/64620-h/images/plt_283.jpg
diff --git a/64620-h/images/plt_284.jpg b/64620-h/images/plt_284.jpg
new file mode 100644
index 0000000..1526573
--- /dev/null
+++ b/64620-h/images/plt_284.jpg
diff --git a/64620-h/images/plt_285.jpg b/64620-h/images/plt_285.jpg
new file mode 100644
index 0000000..8351541
--- /dev/null
+++ b/64620-h/images/plt_285.jpg
diff --git a/64620-h/images/plt_286.jpg b/64620-h/images/plt_286.jpg
new file mode 100644
index 0000000..3062b7d
--- /dev/null
+++ b/64620-h/images/plt_286.jpg
diff --git a/64620-h/images/plt_287.jpg b/64620-h/images/plt_287.jpg
new file mode 100644
index 0000000..67cdb42
--- /dev/null
+++ b/64620-h/images/plt_287.jpg
diff --git a/64620-h/images/plt_288.jpg b/64620-h/images/plt_288.jpg
new file mode 100644
index 0000000..325161c
--- /dev/null
+++ b/64620-h/images/plt_288.jpg
diff --git a/64620-h/images/plt_289.jpg b/64620-h/images/plt_289.jpg
new file mode 100644
index 0000000..117324e
--- /dev/null
+++ b/64620-h/images/plt_289.jpg
diff --git a/64620-h/images/plt_290-a.jpg b/64620-h/images/plt_290-a.jpg
new file mode 100644
index 0000000..b8dd20e
--- /dev/null
+++ b/64620-h/images/plt_290-a.jpg
diff --git a/64620-h/images/plt_290-b.jpg b/64620-h/images/plt_290-b.jpg
new file mode 100644
index 0000000..e476cdd
--- /dev/null
+++ b/64620-h/images/plt_290-b.jpg
diff --git a/64620-h/images/plt_291-a.jpg b/64620-h/images/plt_291-a.jpg
new file mode 100644
index 0000000..0dd554a
--- /dev/null
+++ b/64620-h/images/plt_291-a.jpg
diff --git a/64620-h/images/plt_291-b.jpg b/64620-h/images/plt_291-b.jpg
new file mode 100644
index 0000000..a355565
--- /dev/null
+++ b/64620-h/images/plt_291-b.jpg
diff --git a/64620-h/images/plt_292.jpg b/64620-h/images/plt_292.jpg
new file mode 100644
index 0000000..b8128db
--- /dev/null
+++ b/64620-h/images/plt_292.jpg
diff --git a/64620-h/images/plt_293.jpg b/64620-h/images/plt_293.jpg
new file mode 100644
index 0000000..0f6e6a7
--- /dev/null
+++ b/64620-h/images/plt_293.jpg
diff --git a/64620-h/images/plt_294.jpg b/64620-h/images/plt_294.jpg
new file mode 100644
index 0000000..54695ae
--- /dev/null
+++ b/64620-h/images/plt_294.jpg
diff --git a/64620-h/images/plt_295.jpg b/64620-h/images/plt_295.jpg
new file mode 100644
index 0000000..77bb38c
--- /dev/null
+++ b/64620-h/images/plt_295.jpg
diff --git a/64620-h/images/plt_296.jpg b/64620-h/images/plt_296.jpg
new file mode 100644
index 0000000..0e7132e
--- /dev/null
+++ b/64620-h/images/plt_296.jpg
diff --git a/64620-h/images/plt_297.jpg b/64620-h/images/plt_297.jpg
new file mode 100644
index 0000000..e698382
--- /dev/null
+++ b/64620-h/images/plt_297.jpg
diff --git a/64620-h/images/plt_298.jpg b/64620-h/images/plt_298.jpg
new file mode 100644
index 0000000..b82d582
--- /dev/null
+++ b/64620-h/images/plt_298.jpg
diff --git a/64620-h/images/plt_299.jpg b/64620-h/images/plt_299.jpg
new file mode 100644
index 0000000..1963ae3
--- /dev/null
+++ b/64620-h/images/plt_299.jpg
diff --git a/64620-h/images/plt_300.jpg b/64620-h/images/plt_300.jpg
new file mode 100644
index 0000000..4fd79e3
--- /dev/null
+++ b/64620-h/images/plt_300.jpg
diff --git a/64620-h/images/plt_301.jpg b/64620-h/images/plt_301.jpg
new file mode 100644
index 0000000..e8b8fce
--- /dev/null
+++ b/64620-h/images/plt_301.jpg
diff --git a/64620-h/images/plt_302-a.jpg b/64620-h/images/plt_302-a.jpg
new file mode 100644
index 0000000..1fd0c27
--- /dev/null
+++ b/64620-h/images/plt_302-a.jpg
diff --git a/64620-h/images/plt_302-b.jpg b/64620-h/images/plt_302-b.jpg
new file mode 100644
index 0000000..073ef59
--- /dev/null
+++ b/64620-h/images/plt_302-b.jpg
diff --git a/64620-h/images/plt_303.jpg b/64620-h/images/plt_303.jpg
new file mode 100644
index 0000000..d8d465d
--- /dev/null
+++ b/64620-h/images/plt_303.jpg
diff --git a/64620-h/images/plt_304.jpg b/64620-h/images/plt_304.jpg
new file mode 100644
index 0000000..46e6737
--- /dev/null
+++ b/64620-h/images/plt_304.jpg
diff --git a/64620-h/images/plt_305.jpg b/64620-h/images/plt_305.jpg
new file mode 100644
index 0000000..ea04857
--- /dev/null
+++ b/64620-h/images/plt_305.jpg
diff --git a/64620-h/images/plt_306.jpg b/64620-h/images/plt_306.jpg
new file mode 100644
index 0000000..b8dbdda
--- /dev/null
+++ b/64620-h/images/plt_306.jpg
diff --git a/64620-h/images/plt_307.jpg b/64620-h/images/plt_307.jpg
new file mode 100644
index 0000000..78d6a8a
--- /dev/null
+++ b/64620-h/images/plt_307.jpg
diff --git a/64620-h/images/plt_308.jpg b/64620-h/images/plt_308.jpg
new file mode 100644
index 0000000..76b7fef
--- /dev/null
+++ b/64620-h/images/plt_308.jpg
diff --git a/64620-h/images/plt_309.jpg b/64620-h/images/plt_309.jpg
new file mode 100644
index 0000000..97c0cd9
--- /dev/null
+++ b/64620-h/images/plt_309.jpg
diff --git a/64620-h/images/plt_310.jpg b/64620-h/images/plt_310.jpg
new file mode 100644
index 0000000..e3b876e
--- /dev/null
+++ b/64620-h/images/plt_310.jpg
diff --git a/64620-h/images/plt_311.jpg b/64620-h/images/plt_311.jpg
new file mode 100644
index 0000000..8c7a983
--- /dev/null
+++ b/64620-h/images/plt_311.jpg
diff --git a/64620-h/images/plt_312.jpg b/64620-h/images/plt_312.jpg
new file mode 100644
index 0000000..64ecec2
--- /dev/null
+++ b/64620-h/images/plt_312.jpg
diff --git a/64620-h/images/plt_313.jpg b/64620-h/images/plt_313.jpg
new file mode 100644
index 0000000..69b244b
--- /dev/null
+++ b/64620-h/images/plt_313.jpg
diff --git a/64620-h/images/plt_314.jpg b/64620-h/images/plt_314.jpg
new file mode 100644
index 0000000..1977ebe
--- /dev/null
+++ b/64620-h/images/plt_314.jpg
diff --git a/64620-h/images/plt_315.jpg b/64620-h/images/plt_315.jpg
new file mode 100644
index 0000000..c841e31
--- /dev/null
+++ b/64620-h/images/plt_315.jpg
diff --git a/64620-h/images/plt_316.jpg b/64620-h/images/plt_316.jpg
new file mode 100644
index 0000000..840f77b
--- /dev/null
+++ b/64620-h/images/plt_316.jpg
diff --git a/64620-h/images/plt_317.jpg b/64620-h/images/plt_317.jpg
new file mode 100644
index 0000000..a754c8c
--- /dev/null
+++ b/64620-h/images/plt_317.jpg
diff --git a/64620-h/images/plt_318.jpg b/64620-h/images/plt_318.jpg
new file mode 100644
index 0000000..362dd09
--- /dev/null
+++ b/64620-h/images/plt_318.jpg
diff --git a/64620-h/images/plt_319.jpg b/64620-h/images/plt_319.jpg
new file mode 100644
index 0000000..ccd9878
--- /dev/null
+++ b/64620-h/images/plt_319.jpg
diff --git a/64620-h/images/plt_320.jpg b/64620-h/images/plt_320.jpg
new file mode 100644
index 0000000..29db356
--- /dev/null
+++ b/64620-h/images/plt_320.jpg
diff --git a/64620-h/images/plt_321.jpg b/64620-h/images/plt_321.jpg
new file mode 100644
index 0000000..225cb05
--- /dev/null
+++ b/64620-h/images/plt_321.jpg
diff --git a/64620-h/images/plt_322.jpg b/64620-h/images/plt_322.jpg
new file mode 100644
index 0000000..05f8b0d
--- /dev/null
+++ b/64620-h/images/plt_322.jpg
diff --git a/64620-h/images/plt_323.jpg b/64620-h/images/plt_323.jpg
new file mode 100644
index 0000000..bef691e
--- /dev/null
+++ b/64620-h/images/plt_323.jpg
diff --git a/64620-h/images/plt_324.jpg b/64620-h/images/plt_324.jpg
new file mode 100644
index 0000000..105aec8
--- /dev/null
+++ b/64620-h/images/plt_324.jpg
diff --git a/64620-h/images/plt_325.jpg b/64620-h/images/plt_325.jpg
new file mode 100644
index 0000000..4a755ef
--- /dev/null
+++ b/64620-h/images/plt_325.jpg
diff --git a/64620-h/images/plt_326.jpg b/64620-h/images/plt_326.jpg
new file mode 100644
index 0000000..ff024d8
--- /dev/null
+++ b/64620-h/images/plt_326.jpg
diff --git a/64620-h/images/plt_327.jpg b/64620-h/images/plt_327.jpg
new file mode 100644
index 0000000..fc4f623
--- /dev/null
+++ b/64620-h/images/plt_327.jpg
diff --git a/64620-h/images/plt_328.jpg b/64620-h/images/plt_328.jpg
new file mode 100644
index 0000000..f8c821c
--- /dev/null
+++ b/64620-h/images/plt_328.jpg
diff --git a/64620-h/images/plt_329.jpg b/64620-h/images/plt_329.jpg
new file mode 100644
index 0000000..b4e7fa4
--- /dev/null
+++ b/64620-h/images/plt_329.jpg
diff --git a/64620-h/images/plt_330.jpg b/64620-h/images/plt_330.jpg
new file mode 100644
index 0000000..d210e39
--- /dev/null
+++ b/64620-h/images/plt_330.jpg
diff --git a/64620-h/images/plt_331.jpg b/64620-h/images/plt_331.jpg
new file mode 100644
index 0000000..decb920
--- /dev/null
+++ b/64620-h/images/plt_331.jpg
diff --git a/64620-h/images/plt_332.jpg b/64620-h/images/plt_332.jpg
new file mode 100644
index 0000000..f52c2c4
--- /dev/null
+++ b/64620-h/images/plt_332.jpg
diff --git a/64620-h/images/plt_333.jpg b/64620-h/images/plt_333.jpg
new file mode 100644
index 0000000..ee583e2
--- /dev/null
+++ b/64620-h/images/plt_333.jpg
diff --git a/64620-h/images/plt_334.jpg b/64620-h/images/plt_334.jpg
new file mode 100644
index 0000000..5b9ca3d
--- /dev/null
+++ b/64620-h/images/plt_334.jpg
diff --git a/64620-h/images/plt_335.jpg b/64620-h/images/plt_335.jpg
new file mode 100644
index 0000000..508c957
--- /dev/null
+++ b/64620-h/images/plt_335.jpg
diff --git a/64620-h/images/plt_336.jpg b/64620-h/images/plt_336.jpg
new file mode 100644
index 0000000..7a684a6
--- /dev/null
+++ b/64620-h/images/plt_336.jpg
diff --git a/64620-h/images/plt_337.jpg b/64620-h/images/plt_337.jpg
new file mode 100644
index 0000000..ce10b80
--- /dev/null
+++ b/64620-h/images/plt_337.jpg
diff --git a/64620-h/images/plt_338.jpg b/64620-h/images/plt_338.jpg
new file mode 100644
index 0000000..a07167d
--- /dev/null
+++ b/64620-h/images/plt_338.jpg
diff --git a/64620-h/images/plt_339.jpg b/64620-h/images/plt_339.jpg
new file mode 100644
index 0000000..f8c882d
--- /dev/null
+++ b/64620-h/images/plt_339.jpg
diff --git a/64620-h/images/plt_340.jpg b/64620-h/images/plt_340.jpg
new file mode 100644
index 0000000..4c7b2c2
--- /dev/null
+++ b/64620-h/images/plt_340.jpg
diff --git a/64620-h/images/plt_341.jpg b/64620-h/images/plt_341.jpg
new file mode 100644
index 0000000..54a54bf
--- /dev/null
+++ b/64620-h/images/plt_341.jpg
diff --git a/64620-h/images/plt_342.jpg b/64620-h/images/plt_342.jpg
new file mode 100644
index 0000000..80908b4
--- /dev/null
+++ b/64620-h/images/plt_342.jpg
diff --git a/64620-h/images/plt_343.jpg b/64620-h/images/plt_343.jpg
new file mode 100644
index 0000000..49b1b17
--- /dev/null
+++ b/64620-h/images/plt_343.jpg
diff --git a/64620-h/images/plt_344.jpg b/64620-h/images/plt_344.jpg
new file mode 100644
index 0000000..25cb7bd
--- /dev/null
+++ b/64620-h/images/plt_344.jpg
diff --git a/64620-h/images/plt_345.jpg b/64620-h/images/plt_345.jpg
new file mode 100644
index 0000000..ebd442a
--- /dev/null
+++ b/64620-h/images/plt_345.jpg
diff --git a/64620-h/images/plt_346.jpg b/64620-h/images/plt_346.jpg
new file mode 100644
index 0000000..9964619
--- /dev/null
+++ b/64620-h/images/plt_346.jpg
diff --git a/64620-h/images/plt_347.jpg b/64620-h/images/plt_347.jpg
new file mode 100644
index 0000000..09eed4c
--- /dev/null
+++ b/64620-h/images/plt_347.jpg
diff --git a/64620-h/images/plt_348.jpg b/64620-h/images/plt_348.jpg
new file mode 100644
index 0000000..6572a78
--- /dev/null
+++ b/64620-h/images/plt_348.jpg
diff --git a/64620-h/images/plt_349.jpg b/64620-h/images/plt_349.jpg
new file mode 100644
index 0000000..9255641
--- /dev/null
+++ b/64620-h/images/plt_349.jpg
diff --git a/64620-h/images/plt_350.jpg b/64620-h/images/plt_350.jpg
new file mode 100644
index 0000000..004ac28
--- /dev/null
+++ b/64620-h/images/plt_350.jpg
diff --git a/64620-h/images/plt_351.jpg b/64620-h/images/plt_351.jpg
new file mode 100644
index 0000000..ce6137a
--- /dev/null
+++ b/64620-h/images/plt_351.jpg
diff --git a/64620-h/images/plt_352.jpg b/64620-h/images/plt_352.jpg
new file mode 100644
index 0000000..d867979
--- /dev/null
+++ b/64620-h/images/plt_352.jpg
diff --git a/64620-h/images/plt_353.jpg b/64620-h/images/plt_353.jpg
new file mode 100644
index 0000000..d430532
--- /dev/null
+++ b/64620-h/images/plt_353.jpg
diff --git a/64620-h/images/plt_354.jpg b/64620-h/images/plt_354.jpg
new file mode 100644
index 0000000..1dd03b4
--- /dev/null
+++ b/64620-h/images/plt_354.jpg
diff --git a/64620-h/images/plt_355.jpg b/64620-h/images/plt_355.jpg
new file mode 100644
index 0000000..07ce66d
--- /dev/null
+++ b/64620-h/images/plt_355.jpg
diff --git a/64620-h/images/plt_356.jpg b/64620-h/images/plt_356.jpg
new file mode 100644
index 0000000..4f360e5
--- /dev/null
+++ b/64620-h/images/plt_356.jpg
diff --git a/64620-h/images/plt_357.jpg b/64620-h/images/plt_357.jpg
new file mode 100644
index 0000000..6ba90fe
--- /dev/null
+++ b/64620-h/images/plt_357.jpg
diff --git a/64620-h/images/plt_358.jpg b/64620-h/images/plt_358.jpg
new file mode 100644
index 0000000..b2137ce
--- /dev/null
+++ b/64620-h/images/plt_358.jpg
diff --git a/64620-h/images/plt_359.jpg b/64620-h/images/plt_359.jpg
new file mode 100644
index 0000000..5bd9253
--- /dev/null
+++ b/64620-h/images/plt_359.jpg
diff --git a/64620-h/images/plt_360.jpg b/64620-h/images/plt_360.jpg
new file mode 100644
index 0000000..50605fa
--- /dev/null
+++ b/64620-h/images/plt_360.jpg
diff --git a/64620-h/images/plt_361.jpg b/64620-h/images/plt_361.jpg
new file mode 100644
index 0000000..fef6e01
--- /dev/null
+++ b/64620-h/images/plt_361.jpg
diff --git a/64620-h/images/plt_362.jpg b/64620-h/images/plt_362.jpg
new file mode 100644
index 0000000..5939d36
--- /dev/null
+++ b/64620-h/images/plt_362.jpg
diff --git a/64620-h/images/plt_363.jpg b/64620-h/images/plt_363.jpg
new file mode 100644
index 0000000..62dd8ad
--- /dev/null
+++ b/64620-h/images/plt_363.jpg
diff --git a/64620-h/images/plt_364.jpg b/64620-h/images/plt_364.jpg
new file mode 100644
index 0000000..838da37
--- /dev/null
+++ b/64620-h/images/plt_364.jpg
diff --git a/64620-h/images/plt_365.jpg b/64620-h/images/plt_365.jpg
new file mode 100644
index 0000000..efe0ab1
--- /dev/null
+++ b/64620-h/images/plt_365.jpg
diff --git a/64620-h/images/plt_366.jpg b/64620-h/images/plt_366.jpg
new file mode 100644
index 0000000..32b6b5b
--- /dev/null
+++ b/64620-h/images/plt_366.jpg
diff --git a/64620-h/images/plt_367.jpg b/64620-h/images/plt_367.jpg
new file mode 100644
index 0000000..4d01f90
--- /dev/null
+++ b/64620-h/images/plt_367.jpg
diff --git a/64620-h/images/plt_368.jpg b/64620-h/images/plt_368.jpg
new file mode 100644
index 0000000..dab0d55
--- /dev/null
+++ b/64620-h/images/plt_368.jpg
diff --git a/64620-h/images/plt_369.jpg b/64620-h/images/plt_369.jpg
new file mode 100644
index 0000000..7eb3a55
--- /dev/null
+++ b/64620-h/images/plt_369.jpg
diff --git a/64620-h/images/plt_370.jpg b/64620-h/images/plt_370.jpg
new file mode 100644
index 0000000..b7e909c
--- /dev/null
+++ b/64620-h/images/plt_370.jpg
diff --git a/64620-h/images/plt_371.jpg b/64620-h/images/plt_371.jpg
new file mode 100644
index 0000000..22df125
--- /dev/null
+++ b/64620-h/images/plt_371.jpg
diff --git a/64620-h/images/plt_372.jpg b/64620-h/images/plt_372.jpg
new file mode 100644
index 0000000..a41bfc2
--- /dev/null
+++ b/64620-h/images/plt_372.jpg
diff --git a/64620-h/images/plt_373.jpg b/64620-h/images/plt_373.jpg
new file mode 100644
index 0000000..3eaa14c
--- /dev/null
+++ b/64620-h/images/plt_373.jpg
diff --git a/64620-h/images/plt_374.jpg b/64620-h/images/plt_374.jpg
new file mode 100644
index 0000000..9a2535c
--- /dev/null
+++ b/64620-h/images/plt_374.jpg
diff --git a/64620-h/images/plt_375.jpg b/64620-h/images/plt_375.jpg
new file mode 100644
index 0000000..b999419
--- /dev/null
+++ b/64620-h/images/plt_375.jpg
diff --git a/64620-h/images/plt_376.jpg b/64620-h/images/plt_376.jpg
new file mode 100644
index 0000000..6204247
--- /dev/null
+++ b/64620-h/images/plt_376.jpg
diff --git a/64620-h/images/plt_377.jpg b/64620-h/images/plt_377.jpg
new file mode 100644
index 0000000..df5cbf6
--- /dev/null
+++ b/64620-h/images/plt_377.jpg
diff --git a/64620-h/images/plt_378.jpg b/64620-h/images/plt_378.jpg
new file mode 100644
index 0000000..648665f
--- /dev/null
+++ b/64620-h/images/plt_378.jpg
diff --git a/64620-h/images/plt_379.jpg b/64620-h/images/plt_379.jpg
new file mode 100644
index 0000000..48cd2ec
--- /dev/null
+++ b/64620-h/images/plt_379.jpg
diff --git a/64620-h/images/plt_380.jpg b/64620-h/images/plt_380.jpg
new file mode 100644
index 0000000..8a3c69a
--- /dev/null
+++ b/64620-h/images/plt_380.jpg
diff --git a/64620-h/images/plt_381.jpg b/64620-h/images/plt_381.jpg
new file mode 100644
index 0000000..2092574
--- /dev/null
+++ b/64620-h/images/plt_381.jpg
diff --git a/64620-h/images/plt_382.jpg b/64620-h/images/plt_382.jpg
new file mode 100644
index 0000000..80e1d81
--- /dev/null
+++ b/64620-h/images/plt_382.jpg
diff --git a/64620-h/images/plt_383.jpg b/64620-h/images/plt_383.jpg
new file mode 100644
index 0000000..08cdac6
--- /dev/null
+++ b/64620-h/images/plt_383.jpg
diff --git a/64620-h/images/plt_384.jpg b/64620-h/images/plt_384.jpg
new file mode 100644
index 0000000..d24b15e
--- /dev/null
+++ b/64620-h/images/plt_384.jpg
diff --git a/64620-h/images/plt_385.jpg b/64620-h/images/plt_385.jpg
new file mode 100644
index 0000000..82cb3f0
--- /dev/null
+++ b/64620-h/images/plt_385.jpg
diff --git a/64620-h/images/plt_386.jpg b/64620-h/images/plt_386.jpg
new file mode 100644
index 0000000..0459be0
--- /dev/null
+++ b/64620-h/images/plt_386.jpg
diff --git a/64620-h/images/plt_387.jpg b/64620-h/images/plt_387.jpg
new file mode 100644
index 0000000..dce5a6f
--- /dev/null
+++ b/64620-h/images/plt_387.jpg
diff --git a/64620-h/images/plt_388.jpg b/64620-h/images/plt_388.jpg
new file mode 100644
index 0000000..b58dab1
--- /dev/null
+++ b/64620-h/images/plt_388.jpg
diff --git a/64620-h/images/plt_389.jpg b/64620-h/images/plt_389.jpg
new file mode 100644
index 0000000..57c7b0d
--- /dev/null
+++ b/64620-h/images/plt_389.jpg
diff --git a/64620-h/images/plt_390.jpg b/64620-h/images/plt_390.jpg
new file mode 100644
index 0000000..a910af6
--- /dev/null
+++ b/64620-h/images/plt_390.jpg
diff --git a/64620-h/images/plt_391.jpg b/64620-h/images/plt_391.jpg
new file mode 100644
index 0000000..109ac6d
--- /dev/null
+++ b/64620-h/images/plt_391.jpg
diff --git a/64620-h/images/plt_392.jpg b/64620-h/images/plt_392.jpg
new file mode 100644
index 0000000..bb74f23
--- /dev/null
+++ b/64620-h/images/plt_392.jpg
diff --git a/64620-h/images/plt_393.jpg b/64620-h/images/plt_393.jpg
new file mode 100644
index 0000000..c56eace
--- /dev/null
+++ b/64620-h/images/plt_393.jpg
diff --git a/64620-h/images/plt_394.jpg b/64620-h/images/plt_394.jpg
new file mode 100644
index 0000000..30d97eb
--- /dev/null
+++ b/64620-h/images/plt_394.jpg
diff --git a/64620-h/images/plt_395.jpg b/64620-h/images/plt_395.jpg
new file mode 100644
index 0000000..641ac5a
--- /dev/null
+++ b/64620-h/images/plt_395.jpg
diff --git a/64620-h/images/plt_396.jpg b/64620-h/images/plt_396.jpg
new file mode 100644
index 0000000..4131854
--- /dev/null
+++ b/64620-h/images/plt_396.jpg
diff --git a/64620-h/images/plt_397.jpg b/64620-h/images/plt_397.jpg
new file mode 100644
index 0000000..c45d48a
--- /dev/null
+++ b/64620-h/images/plt_397.jpg
diff --git a/64620-h/images/plt_398.jpg b/64620-h/images/plt_398.jpg
new file mode 100644
index 0000000..614cc22
--- /dev/null
+++ b/64620-h/images/plt_398.jpg
diff --git a/64620-h/images/plt_399.jpg b/64620-h/images/plt_399.jpg
new file mode 100644
index 0000000..2f13609
--- /dev/null
+++ b/64620-h/images/plt_399.jpg
diff --git a/64620-h/images/plt_400.jpg b/64620-h/images/plt_400.jpg
new file mode 100644
index 0000000..b38cb1c
--- /dev/null
+++ b/64620-h/images/plt_400.jpg
diff --git a/64620-h/images/plt_401.jpg b/64620-h/images/plt_401.jpg
new file mode 100644
index 0000000..162181f
--- /dev/null
+++ b/64620-h/images/plt_401.jpg
diff --git a/64620-h/images/plt_402.jpg b/64620-h/images/plt_402.jpg
new file mode 100644
index 0000000..a7b5d9d
--- /dev/null
+++ b/64620-h/images/plt_402.jpg
diff --git a/64620-h/images/plt_403.jpg b/64620-h/images/plt_403.jpg
new file mode 100644
index 0000000..46a7e75
--- /dev/null
+++ b/64620-h/images/plt_403.jpg
diff --git a/64620-h/images/plt_404.jpg b/64620-h/images/plt_404.jpg
new file mode 100644
index 0000000..f8ee653
--- /dev/null
+++ b/64620-h/images/plt_404.jpg
diff --git a/64620-h/images/plt_405.jpg b/64620-h/images/plt_405.jpg
new file mode 100644
index 0000000..163eef1
--- /dev/null
+++ b/64620-h/images/plt_405.jpg
diff --git a/64620-h/images/plt_406.jpg b/64620-h/images/plt_406.jpg
new file mode 100644
index 0000000..779a26b
--- /dev/null
+++ b/64620-h/images/plt_406.jpg
diff --git a/64620-h/images/plt_407.jpg b/64620-h/images/plt_407.jpg
new file mode 100644
index 0000000..fb4e9e7
--- /dev/null
+++ b/64620-h/images/plt_407.jpg
diff --git a/64620-h/images/plt_408.jpg b/64620-h/images/plt_408.jpg
new file mode 100644
index 0000000..086bb0e
--- /dev/null
+++ b/64620-h/images/plt_408.jpg
diff --git a/64620-h/images/plt_409.jpg b/64620-h/images/plt_409.jpg
new file mode 100644
index 0000000..eb94525
--- /dev/null
+++ b/64620-h/images/plt_409.jpg
diff --git a/64620-h/images/plt_410.jpg b/64620-h/images/plt_410.jpg
new file mode 100644
index 0000000..84f0d1f
--- /dev/null
+++ b/64620-h/images/plt_410.jpg
diff --git a/64620-h/images/plt_411.jpg b/64620-h/images/plt_411.jpg
new file mode 100644
index 0000000..cf4715e
--- /dev/null
+++ b/64620-h/images/plt_411.jpg
diff --git a/64620-h/images/plt_412.jpg b/64620-h/images/plt_412.jpg
new file mode 100644
index 0000000..8a86ef9
--- /dev/null
+++ b/64620-h/images/plt_412.jpg
diff --git a/64620-h/images/plt_413.jpg b/64620-h/images/plt_413.jpg
new file mode 100644
index 0000000..a524b8b
--- /dev/null
+++ b/64620-h/images/plt_413.jpg
diff --git a/64620-h/images/plt_414.jpg b/64620-h/images/plt_414.jpg
new file mode 100644
index 0000000..834a963
--- /dev/null
+++ b/64620-h/images/plt_414.jpg
diff --git a/64620-h/images/plt_415.jpg b/64620-h/images/plt_415.jpg
new file mode 100644
index 0000000..34c5e3c
--- /dev/null
+++ b/64620-h/images/plt_415.jpg
diff --git a/64620-h/images/plt_416.jpg b/64620-h/images/plt_416.jpg
new file mode 100644
index 0000000..6866085
--- /dev/null
+++ b/64620-h/images/plt_416.jpg
diff --git a/64620-h/images/plt_417.jpg b/64620-h/images/plt_417.jpg
new file mode 100644
index 0000000..458c410
--- /dev/null
+++ b/64620-h/images/plt_417.jpg
diff --git a/64620-h/images/plt_418.jpg b/64620-h/images/plt_418.jpg
new file mode 100644
index 0000000..d6777c7
--- /dev/null
+++ b/64620-h/images/plt_418.jpg
diff --git a/64620-h/images/plt_419.jpg b/64620-h/images/plt_419.jpg
new file mode 100644
index 0000000..87abf8f
--- /dev/null
+++ b/64620-h/images/plt_419.jpg
diff --git a/64620-h/images/plt_420.jpg b/64620-h/images/plt_420.jpg
new file mode 100644
index 0000000..dd6821e
--- /dev/null
+++ b/64620-h/images/plt_420.jpg
diff --git a/64620-h/images/plt_421.jpg b/64620-h/images/plt_421.jpg
new file mode 100644
index 0000000..ebad6ea
--- /dev/null
+++ b/64620-h/images/plt_421.jpg
diff --git a/64620-h/images/plt_422.jpg b/64620-h/images/plt_422.jpg
new file mode 100644
index 0000000..304ebd7
--- /dev/null
+++ b/64620-h/images/plt_422.jpg
diff --git a/64620-h/images/plt_423.jpg b/64620-h/images/plt_423.jpg
new file mode 100644
index 0000000..3a81edd
--- /dev/null
+++ b/64620-h/images/plt_423.jpg
diff --git a/64620-h/images/plt_424.jpg b/64620-h/images/plt_424.jpg
new file mode 100644
index 0000000..589f11f
--- /dev/null
+++ b/64620-h/images/plt_424.jpg
diff --git a/64620-h/images/plt_425.jpg b/64620-h/images/plt_425.jpg
new file mode 100644
index 0000000..4950fde
--- /dev/null
+++ b/64620-h/images/plt_425.jpg
diff --git a/64620-h/images/plt_426.jpg b/64620-h/images/plt_426.jpg
new file mode 100644
index 0000000..0069f9f
--- /dev/null
+++ b/64620-h/images/plt_426.jpg
diff --git a/64620-h/images/plt_427.jpg b/64620-h/images/plt_427.jpg
new file mode 100644
index 0000000..3806b80
--- /dev/null
+++ b/64620-h/images/plt_427.jpg
diff --git a/64620-h/images/plt_428.jpg b/64620-h/images/plt_428.jpg
new file mode 100644
index 0000000..21cf5fa
--- /dev/null
+++ b/64620-h/images/plt_428.jpg
diff --git a/64620-h/images/plt_429.jpg b/64620-h/images/plt_429.jpg
new file mode 100644
index 0000000..22ce1c7
--- /dev/null
+++ b/64620-h/images/plt_429.jpg
diff --git a/64620-h/images/plt_430.jpg b/64620-h/images/plt_430.jpg
new file mode 100644
index 0000000..482a417
--- /dev/null
+++ b/64620-h/images/plt_430.jpg
diff --git a/64620-h/images/plt_431.jpg b/64620-h/images/plt_431.jpg
new file mode 100644
index 0000000..3c43b51
--- /dev/null
+++ b/64620-h/images/plt_431.jpg
diff --git a/64620-h/images/plt_432.jpg b/64620-h/images/plt_432.jpg
new file mode 100644
index 0000000..02a1a4d
--- /dev/null
+++ b/64620-h/images/plt_432.jpg
diff --git a/64620-h/images/plt_433.jpg b/64620-h/images/plt_433.jpg
new file mode 100644
index 0000000..dba70e7
--- /dev/null
+++ b/64620-h/images/plt_433.jpg
diff --git a/64620-h/images/plt_434.jpg b/64620-h/images/plt_434.jpg
new file mode 100644
index 0000000..56b3bcc
--- /dev/null
+++ b/64620-h/images/plt_434.jpg
diff --git a/64620-h/images/plt_435.jpg b/64620-h/images/plt_435.jpg
new file mode 100644
index 0000000..ee24c89
--- /dev/null
+++ b/64620-h/images/plt_435.jpg
diff --git a/64620-h/images/plt_436.jpg b/64620-h/images/plt_436.jpg
new file mode 100644
index 0000000..8763852
--- /dev/null
+++ b/64620-h/images/plt_436.jpg
diff --git a/64620-h/images/plt_437.jpg b/64620-h/images/plt_437.jpg
new file mode 100644
index 0000000..7f5293b
--- /dev/null
+++ b/64620-h/images/plt_437.jpg
diff --git a/64620-h/images/plt_438.jpg b/64620-h/images/plt_438.jpg
new file mode 100644
index 0000000..c1fb713
--- /dev/null
+++ b/64620-h/images/plt_438.jpg
diff --git a/64620-h/images/plt_439.jpg b/64620-h/images/plt_439.jpg
new file mode 100644
index 0000000..ea8999f
--- /dev/null
+++ b/64620-h/images/plt_439.jpg
diff --git a/64620-h/images/plt_440.jpg b/64620-h/images/plt_440.jpg
new file mode 100644
index 0000000..2dad91f
--- /dev/null
+++ b/64620-h/images/plt_440.jpg
diff --git a/64620-h/images/plt_441.jpg b/64620-h/images/plt_441.jpg
new file mode 100644
index 0000000..0ac23c4
--- /dev/null
+++ b/64620-h/images/plt_441.jpg
diff --git a/64620-h/images/plt_442.jpg b/64620-h/images/plt_442.jpg
new file mode 100644
index 0000000..3e8dd3e
--- /dev/null
+++ b/64620-h/images/plt_442.jpg
diff --git a/64620-h/images/plt_443.jpg b/64620-h/images/plt_443.jpg
new file mode 100644
index 0000000..300a17f
--- /dev/null
+++ b/64620-h/images/plt_443.jpg
diff --git a/64620-h/images/plt_444.jpg b/64620-h/images/plt_444.jpg
new file mode 100644
index 0000000..411883c
--- /dev/null
+++ b/64620-h/images/plt_444.jpg
diff --git a/64620-h/images/plt_445.jpg b/64620-h/images/plt_445.jpg
new file mode 100644
index 0000000..cca5837
--- /dev/null
+++ b/64620-h/images/plt_445.jpg
diff --git a/64620-h/images/plt_446.jpg b/64620-h/images/plt_446.jpg
new file mode 100644
index 0000000..a21063e
--- /dev/null
+++ b/64620-h/images/plt_446.jpg
diff --git a/64620-h/images/plt_447.jpg b/64620-h/images/plt_447.jpg
new file mode 100644
index 0000000..729148a
--- /dev/null
+++ b/64620-h/images/plt_447.jpg
diff --git a/64620-h/images/plt_448.jpg b/64620-h/images/plt_448.jpg
new file mode 100644
index 0000000..45a1170
--- /dev/null
+++ b/64620-h/images/plt_448.jpg
diff --git a/64620-h/images/plt_449.jpg b/64620-h/images/plt_449.jpg
new file mode 100644
index 0000000..cfdc2d7
--- /dev/null
+++ b/64620-h/images/plt_449.jpg
diff --git a/64620-h/images/plt_450.jpg b/64620-h/images/plt_450.jpg
new file mode 100644
index 0000000..9bee57c
--- /dev/null
+++ b/64620-h/images/plt_450.jpg
diff --git a/64620-h/images/plt_451.jpg b/64620-h/images/plt_451.jpg
new file mode 100644
index 0000000..0b2ed36
--- /dev/null
+++ b/64620-h/images/plt_451.jpg
diff --git a/64620-h/images/plt_452.jpg b/64620-h/images/plt_452.jpg
new file mode 100644
index 0000000..5c3a95e
--- /dev/null
+++ b/64620-h/images/plt_452.jpg
diff --git a/64620-h/images/plt_453.jpg b/64620-h/images/plt_453.jpg
new file mode 100644
index 0000000..14e1278
--- /dev/null
+++ b/64620-h/images/plt_453.jpg
diff --git a/64620-h/images/plt_454.jpg b/64620-h/images/plt_454.jpg
new file mode 100644
index 0000000..ae2feeb
--- /dev/null
+++ b/64620-h/images/plt_454.jpg
diff --git a/64620-h/images/plt_455.jpg b/64620-h/images/plt_455.jpg
new file mode 100644
index 0000000..24a7f35
--- /dev/null
+++ b/64620-h/images/plt_455.jpg
diff --git a/64620-h/images/plt_456.jpg b/64620-h/images/plt_456.jpg
new file mode 100644
index 0000000..e51ce92
--- /dev/null
+++ b/64620-h/images/plt_456.jpg
diff --git a/64620-h/images/plt_457.jpg b/64620-h/images/plt_457.jpg
new file mode 100644
index 0000000..e18abbb
--- /dev/null
+++ b/64620-h/images/plt_457.jpg
diff --git a/64620-h/images/plt_458.jpg b/64620-h/images/plt_458.jpg
new file mode 100644
index 0000000..9d301e0
--- /dev/null
+++ b/64620-h/images/plt_458.jpg
diff --git a/64620-h/images/plt_459.jpg b/64620-h/images/plt_459.jpg
new file mode 100644
index 0000000..e8ea27f
--- /dev/null
+++ b/64620-h/images/plt_459.jpg
diff --git a/64620-h/images/plt_460.jpg b/64620-h/images/plt_460.jpg
new file mode 100644
index 0000000..0fa4be0
--- /dev/null
+++ b/64620-h/images/plt_460.jpg
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+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
new file mode 100644
index 0000000..41238cc
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #64620 (https://www.gutenberg.org/ebooks/64620)
diff --git a/old/64620-0.txt b/old/64620-0.txt
new file mode 100644
index 0000000..d044502
--- /dev/null
+++ b/old/64620-0.txt
@@ -0,0 +1,6303 @@
+The Project Gutenberg eBook of Granada and the Alhambra, by Albert F.
+Calvert
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world 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. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: Granada and the Alhambra
+
+Author: Albert F. Calvert
+
+Release Date: February 25, 2021 [eBook #64620]
+
+Language: English
+
+Character set encoding: UTF-8
+
+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)
+
+*** START OF THE PROJECT GUTENBERG EBOOK GRANADA AND THE ALHAMBRA ***
+
+
+
+
+                          THE SPANISH SERIES
+
+                       GRANADA AND THE ALHAMBRA
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                            GOYA
+                            TOLEDO
+                            MADRID
+                            SEVILLE
+                            MURILLO
+                            CORDOVA
+                            EL GRECO
+                            VELAZQUEZ
+                            THE PRADO
+                            THE ESCORIAL
+                            ROYAL PALACES OF SPAIN
+                            GRANADA AND ALHAMBRA
+                            SPANISH ARMS AND ARMOUR
+                            LEON, BURGOS AND SALAMANCA
+                            VALLADOLID, OVIEDO, SEGOVIA
+                            ZAMORA, AVILA AND ZARAGOZA
+
+
+
+
+                              GRANADA AND
+                             THE ALHAMBRA
+
+                      A BRIEF DESCRIPTION OF THE
+                        ANCIENT CITY OF GRANADA
+                       WITH A PARTICULAR ACCOUNT
+                         OF THE MOORISH PALACE
+                         BY ALBERT F. CALVERT
+                        WITH 460 ILLUSTRATIONS
+
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                  NEW YORK: JOHN LANE COMPANY MCMVII
+
+                  Printed by BALLANTYNE & CO. LIMITED
+                       Tavistock Street, London
+
+
+                                  TO
+                      H.I.M. THE EMPRESS EUGÉNIE
+               THIS SOUVENIR OF THAT FAIR GRANADAN HOME
+                        FROM WHICH SHE CARRIED
+                      THE CROWN OF SPANISH BEAUTY
+                     TO GRACE THE THRONE OF FRANCE
+                             IS DEDICATED
+                   IN ACCORDANCE WITH HER MAJESTY’S
+                          GRACIOUS PERMISSION
+
+
+
+
+PREFACE TO FIRST EDITION
+
+
+Although the admission may be construed by the censorious as betraying a
+lack of becoming diffidence, I am tempted to believe that no apology
+will be demanded for the publication of this volume by that section of
+the reading public for which it has been chiefly compiled. My temerity
+goes even further, and I anticipate with some confidence that visitors
+to the Alhambra, and pilgrims to that famous Mecca of Moorish
+workmanship, will recognise in this book an earnest attempt to supply a
+long-felt want. When I paid my first visit to Granada some years ago, I
+was surprised and disappointed to find that no such thing as an even
+fairly adequate illustrated souvenir of this “city of the dawn” was to
+be obtained. Many tomes, costly and valuable (not necessarily the same
+thing), have been written to place on record the wonders of “the
+glorious sanctuary of Spain,” but these are beyond the reach of the
+general public. Many beautiful pictures have caught odd ecstasies of
+this superb and perfectly harmonised palace of art, but these
+impressions are not available to the ordinary tourist.
+
+What is wanted, as I imagine, is a concise history and description of
+the Alhambra, illustrated with a series of pictures constituting a
+tangible remembrancer of the delights of this Granadian paradise
+
+    “Where glory rests ’tween laurels,
+     A torch to give thee light!”
+
+The Alhambra may be likened to an exquisite opera which can only be
+appreciated to the full when one is under the spell of its magic
+influence. But as the witchery of an inspired score can be recalled by
+the sound of an air whistled in the street, so--it is my hope--the pale
+ghost of this Moorish fairy-land may live again in the memories of
+travellers through the medium of this pictorial epitome.
+
+I desire, however, to submit an explanation--or excuse--for the unusual
+form in which this volume is issued. At the commencement of my work I
+experienced no little difficulty in collecting the requisite
+illustrations, for most of the obtainable photographs were ill-chosen
+and but carelessly developed, and I was compelled to press my own
+cameras into the service of my scheme. But when my designs became known,
+I was inundated with offers of pictures of every description, until the
+embarrassment of artistic treasures entirely upset the original purpose
+of my book. Artists placed their studies at my disposal; collectors
+begged me, with irresistible Spanish courtesy, to regard their galleries
+as my own; and students directed my attention to little-known
+publications on the subject.
+
+Don Mariano Contreras, Conservator of the Alhambra, the son of the
+gifted Raphaël Contreras, who devoted thirty-seven years of his life to
+the restoration of the Palace--gave me the benefit of his knowledge of
+this unique treasure-house of art; and I have also laid under
+contribution the beautiful plates of Owen Jones, who disposed of a Welsh
+inheritance in order to produce his great work on the _Plans,
+Elevations, Sections, and Details of the Alhambra_. Jones’s _Grammar of
+Ornament_, which has been described as “beautiful enough to be the
+horn-book of the Angels,” also contains the result of his researches in
+the Alhambra, which occupied him for the greater part of eleven years. A
+selection of these illustrations is here rescued from the obscurity of
+public libraries and the inaccessible fastnesses of private collections.
+The inclusion of John F. Lewis’s drawings, and the reproduction of a
+series of pictures by James C. Murphy, who spent seven years in the
+study of the artistic marvels of the Alhambra, I do not feel called upon
+to defend. The photographs, several of which were placed at my disposal
+by Don Rafaël Garzón, represent the buildings as they appear to-day; the
+drawings were made before the Palace was damaged by the disastrous fire
+of September, 1890.
+
+For the historical portions of the description contained in the
+letterpress I have levied tribute on a variety of authors. _The History
+of the Mohammedan Dynasties in Spain_, by the learned Spanish
+Orientalist, Don Pascual de Gayángos; Raphaël Contreras’ _Étude
+Descriptive des Monuments Arabes_; Richard Ford’s reverent
+appreciations; Dr. R. Dozy’s history; Mr. Stanley Lane-Poole’s _The
+Moors in Spain_; Washington Irving’s fascinating writings; and _The
+Alhambra Album_, presented by Prince Dolgorouki in 1829, containing the
+autographs, poems, and thoughts of succeeding generations of visitors to
+Granada, these and many others have been drawn upon in the following
+pages.
+
+But the multiplicity of my illustrations convinced me that if I adhered
+to my idea of furnishing an amount of letterpress sufficient to “carry”
+the blocks, I should only end in producing a book that would tax the
+physical endurance of my readers by reason of its bulk, and exhaust
+their patience with a tedious super-abundance of minute descriptive
+pabulum. I resolved, therefore, to give pride of place to the pictorial
+side of the volume; to abandon the traditions regulating the proportions
+of prose to pictures; and make my appeal to the public by the beauty and
+variety of the illustrations I have collected, and the immensity of
+elaborate letterpress which I have not written.
+
+A. F. C.
+
+“ROYSTON,”
+
+     HAMPSTEAD, N.W., 1904.
+
+
+
+
+PREFACE TO SECOND EDITION
+
+
+The compilation of a book of this kind reveals in the author a
+refreshing optimism which does not always survive the ordeal of
+publication, and it is, perhaps, out of sympathy with the misgivings
+that assail him as he approaches the bar of public and critical opinion,
+that convention cedes to him the privilege of making some apology for
+the faith that is in him. In his preface he is permitted to explain
+himself, and this _apologia_ or justification, call it which you will,
+stands as the last word in his own defence. But the demand for a further
+edition is the outcome of an amiable conspiracy on the part of the
+public, and it is not required of the author to explain, justify, or
+excuse an issue for which he is not directly responsible. Any revision
+or amplification, however, which is to be found in a second impression,
+may be briefly referred to, and at the same time tradition allows him to
+express the feelings of gratitude and gratification that the occasion
+inspires.
+
+It has been my ambition to acknowledge the favour with which this book
+has been received, by having the present edition produced with the
+greatest care on special paper, and by the addition of a number of new
+illustrations, including some half-tone and coloured plates reproduced
+from the _Monumentos Arquitectónicos de España_ and other sources, which
+I have acquired since it was first produced. It will be seen that
+several of the coloured pictures in this book illustrate designs which
+are common to the Arabian ornamentation to be found in Cordova and
+Seville, and, as being representative of the Moresco work of the period,
+they also appear in the companion volume on _Moorish Remains in Spain_,
+but it may be stated that the whole of the plates reproduced here are
+from photographs and drawings secured or specially made to illustrate
+_The Alhambra_. In its pictorial appeal it has been my ambition to make
+this edition as worthy of its subject as means and ability permit, and I
+offer this assurance as an earnest of my sincere appreciation of the
+generous manner in which the Press and public rewarded my previous
+effort.
+
+A. F. C.
+
+
+
+
+PREFACE TO NEW EDITION
+
+
+The generous appreciation with which my larger book on the Alhambra was
+received by both the Press and the public in Spain and America, as well
+as in this country, encourages me to hope that the present volume will
+prove a popular addition to this Spanish Series. Three years ago, when I
+published _The Alhambra_ to supply what my own experience taught me to
+be a real want, the scale and quality of the illustrations made it
+impossible to issue the work at a popular price. I am now enabled to
+present an inexpensive and, I trust, adequate souvenir of the
+fascinating city of Granada and its Red Palace. The text is no mere
+reprint of the matter which appeared in my former work, but embodies the
+results of a more critical, though not less appreciative, survey of the
+last monuments of the Spanish Moor. Bearing in mind, too, that the
+illustrations, being on a reduced scale, called for fuller explanation,
+I have endeavoured to condense as much detail and descriptive matter
+into the letterpress as the limits I had laid down for myself admitted.
+Those limits were still further encroached upon by the additional wealth
+of illustration which resulted from the decision to include the city of
+Granada in a work which, in previous issues, had been devoted entirely
+to the palace of the Alhambra, and the new pictorial matter so acquired
+threatened to annex all the space allotted for the text. But little as I
+liked the idea of further condensing the letterpress, I was even less
+inclined to neglect the opportunity of enhancing the pictorial value of
+the volume. In dealing with the Moorish art of Spain, I have always
+recognised that the popular want is for pictures rather than the printed
+word, and I venture to hope that the present volume, which surpasses its
+costlier predecessors in the number of the plates reproduced, will
+constitute a serviceable if not exhaustive guide to the beautiful
+Moorish capital, and an artistic remembrancer of its fascinating
+monuments.
+
+I have to acknowledge my obligations to Mr. E. B. d’Auvergne for his
+kind and valuable assistance in the compilation of the text, and for
+permission to reproduce many of the additional photographs I am indebted
+to the courtesy of Don Senan y Gonzalez, of Herr Ernst Wasmuth of
+Berlin, publisher of Uhde’s _Baudenkmaeler in Spanien und Portugal_, and
+of Herr Eugen Twietmeyer of Leipzig, publisher of Junghandel’s _Die
+Baukunst Spaniens_.
+
+As I have remarked in the preface to the volume on Cordova, it may be
+thought that in the present work I have given an excess of detail of
+Arabian decoration and ornament, but it has been my aim to provide the
+last word on Moorish art--so far at least as the pictorial
+representation of it is concerned--wherever I have dealt with it in
+Spain. To the general reader these reproductions of tracery and
+elaborate detail may seem superfluous, but they will, I trust, lend to
+the book an additional interest in the eyes of students and artists, for
+whose delectation they are included here.
+
+A. F. C.
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+
+THE CITY OF THE MOOR                                                   1
+
+THE ALHAMBRA                                                          25
+
+THE GENERALIFE                                                        61
+
+CATHOLIC GRANADA                                                      65
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+       TITLE                                                       PLATE
+
+View of Granada, showing the Alhambra and the Sierra
+Nevada                                                                 1
+
+General View of the Alhambra                                           2
+
+View of the Alhambra from the Sacromonte Road                          3
+
+The Alhambra from the Moor’s Seat--La Silla del Moro                   4
+
+General View of the Alhambra from San Nicolás                          5
+
+View of the Gate of Elvira                                             6
+
+A View of the Alhambra from the Albaicin (_Sketch_)                    7
+
+View of the Cathedral and the Alhambra from San
+Gerónimo                                                               8
+
+View of the Sierra Nevada from the Carrera de las
+Angustias                                                              9
+
+View of the Royal Gate                                                10
+
+View from the Tower in the Alhambra                                   11
+
+La Plaza Nueva                                                        12
+
+Monument to Columbus in the Paseo del Salon; the
+Sierra Nevada in the Distance                                         13
+
+The Street of the Catholic Sovereigns                                 14
+
+Arab Silk Market                                                      15
+
+La Casa de los Tiros                                                  16
+
+Church of Santa Ana                                                   17
+
+Limoges Enamel Triptych which belonged to the Gran
+Capitán. (Provincial Museum, Granada)                                 18
+
+Altar in the Church of San Gerónimo                                   19
+
+House in the Calle de Darro. The Palacio de Justicia                  20
+
+The House of Castril                                                  21
+
+Typical Gypsies and their Quarters                                    22
+
+Gypsies in Front of their Dwellings                                   23
+
+Gypsy-dwellings in the Sacromonte                                     24
+
+General View of the Gypsy Quarters                                    25
+
+Interior of a Gypsy’s Cave                                            26
+
+Group of Gypsies                                                      27
+
+A Gypsy Family                                                        28
+
+Gypsies bivouacking                                                   29
+
+Gypsies                                                               30
+
+Gypsies clipping a Mule                                               31
+
+Gypsies                                                               32
+
+Gypsies                                                               33
+
+Gypsy Dance                                                           34
+
+Interior of the Sacristy of the Cartuja                               35
+
+Interior of Cartuja: The Sacristy                                     36
+
+Interior of the Cartuja Church                                        37
+
+Saint Bruno, by Alonso Cano, at the Carthusian Monastery
+of Granada                                                            38
+
+Exterior of the Royal Chapel                                          39
+
+The Gate of Pardon and the Exterior of the Cathedral                  40
+
+Façade of the Cathedral                                               41
+
+Exterior Gate of the Royal Chapel                                     42
+
+Detail in the Royal Chapel                                            43
+
+Ancient Gothic Entrance to the Royal Chapel                           44
+
+General Exterior View of the Royal Chapel, Upper
+Part                                                                  45
+
+General Exterior View of the Royal Chapel                             46
+
+Façade of the Cathedral. Exterior of the Royal Chapel                 47
+
+General View of the Interior of the Cathedral                         48
+
+The Cathedral. General View of the Interior                           49
+
+The Cathedral. View of the Principal Nave                             50
+
+The High Altar in the Cathedral                                       51
+
+Altar-piece in the Royal Chapel, by F. de Borgoña                     52
+
+The Cathedral. Boabdil giving up the Keys of Granada
+to the Catholic Sovereigns. Fragment of the Altar-piece
+in the Royal Chapel                                                   53
+
+The Inner Choir of the Cathedral                                      54
+
+The Cathedral. Tombs of the Catholic Sovereigns in
+the Royal Chapel                                                      55
+
+View of the Royal Chapel and Tombs of the Catholic
+Sovereigns, by P. Gonzalvo                                            56
+
+Royal Chapel. Tombs of Ferdinand and Isabella                         57
+
+Vault of the Catholic Sovereigns at Granada                           58
+
+Tombs of Ferdinand and Isabella, Doña Juana and
+Philip the Handsome                                                   59
+
+Tombs of Ferdinand and Isabella, Doña Juana and
+Philip the Handsome                                                   60
+
+Sceptre, Crown, Sword, Mass-book, and Coffer of the
+Catholic Sovereigns                                                   61
+
+Relics of the Catholic Sovereigns                                     62
+
+Royal Chapel: Statue of Queen Isabella the Catholic                   63
+
+Statue of Isabella the Catholic                                       64
+
+Chapel of San Miguel in the Cathedral, Marble Sculpture               65
+
+Plan of the Alhambra Palace at Granada                                66
+
+General Plan of the Alhambra                                          67
+
+General View of the Alhambra from San Nicolás                         68
+
+The Red Towers from the Ramparts                                      69
+
+View of the Alhambra from the Sacromonte                              70
+
+General View of the Alhambra and Algibillo Promenade                  71
+
+View of the Alhambra from the Cuesta del Chapiz                       72
+
+The Red Towers                                                        73
+
+General View of the Alhambra                                          74
+
+The Tower of the Peaks                                                75
+
+The Infantas’ Tower and Captive’s Tower                               76
+
+View of the Watch Tower and Granada                                   77
+
+View of the Ramparts and the Watch Tower                              78
+
+The Aqueduct Tower and the Aqueduct                                   79
+
+The Gate of Justice. Detail of a Door in the Court
+of the Myrtles                                                        80
+
+The Alhambra and the Sierra Nevada                                    81
+
+Granada, from the Homage Tower                                        82
+
+“The Queen’s Dressing-room,” at the Summit of the
+Mihrab Tower, with Distant View of the Generalife                     83
+
+The Gate of Justice, erected by Yúsuf I.                              84
+
+The Tower of the Peaks                                                85
+
+The Captive’s Tower                                                   86
+
+Exterior of the Mosque, Private Property                              87
+
+Tower of the Aqueduct                                                 88
+
+Ascent to the Alhambra by the Cuesta del Rey Chico--Lesser
+King Hill                                                             89
+
+The Ladies’ Tower                                                     90
+
+Part of the Alhambra, Exterior                                        91
+
+The Homage Tower. Ancient Arab Ruins in the
+Alcazába                                                              92
+
+Gate of Justice, the Alhambra                                         93
+
+Gate of Justice (_Sketch_)                                            94
+
+The Gate of Justice                                                   95
+
+Plan, Height, and Details of the Gate of the Law, commonly
+called of Justice                                                     96
+
+Elevation of the Ancient Gate of Justice                              97
+
+Portal commonly called the Wine Gate                                  98
+
+Porch of the Gate of Judgment                                         99
+
+Elevation of the Wine Gate                                           100
+
+Transverse Section of Part of the Alhambra                           101
+
+Section showing Heights of the Alhambra        102, 103
+
+Promenades at the Entrance to the Alhambra                           104
+
+The Hall of Justice and Court of the Lions                           105
+
+Hall of Justice. Left Side                                           106
+
+Hall of Justice, showing Fountain of Court of the Lions              107
+
+Section of the Hall of Justice (looking East)                        108
+
+Section of the Hall of Justice (looking towards the
+Court of the Lions)                                                  109
+
+Vertical Section of the Hall of Justice                              110
+
+Details of the Hall of Justice                                       111
+
+Plan and Window of the Hall of Justice                               112
+
+Painting on the Ceiling of the Hall of Justice. No. 1                113
+
+Painting on the Ceiling of the Hall of Justice. No. 3                114
+
+Part of Picture in the Hall of Justice--The Moor’s
+Return from Hunting                                                  115
+
+Hall of Justice--The Death of the Lion at the Hands of
+a Christian Knight                                                   116
+
+Part of Picture in the Hall of Justice representing a
+Christian Knight rescuing a Maiden from a wicked
+Magician, or Wild-Man-o’-the-Woods                                   117
+
+Part of Picture in Hall of Justice--Moorish Huntsman
+slaying the Wild Boar                                                118
+
+Hall of Justice--Three Figures from the Picture of the
+Moorish Tribunal                                                     119
+
+The Mosque and Generalife                                            120
+
+Court of the Mosque                                                  121
+
+Façade of the Mosque                                                 122
+
+Interior of the Mosque in the Alhambra                               123
+
+Interior of the Mosque                                               124
+
+Elevation of the Portico adjacent to the Mosque                      125
+
+Detail of the Entrance Door of the Mosque                            126
+
+An Arched Window of the Mosque                                       127
+
+An Arched Window of the Mosque                                       128
+
+The Koran Recess in the Mosque, the Scene of Yusuf’s
+Assassination                                                        129
+
+The Mosque from Koran Recess                                         130
+
+Details of Ornament of Koran Recess near the Entrance
+Door of the Mosque                                                   131
+
+Cornice and Window in the Façade of the Mosque                       132
+
+Vertical Section of the Mosque                                       133
+
+Arab Lamp in Mosque                                                  134
+
+Details of the Front of the Mosque of the Harem                      135
+
+Details of Ornament in the Court of the Mosque                       136
+
+Details in the Court of the Mosque, Eastern Façade                   137
+
+Ornament in Panels, Court of the Mosque                              138
+
+Window in the Hall of Ambassadors                                    139
+
+Entrance to the Hall of Ambassadors                                  140
+
+Hall of Ambassadors                                                  141
+
+Section and Elevation of the Interior of the Hall of
+Ambassadors                                                          142
+
+Encaustic-tile Work of the Hall of Ambassadors                       143
+
+Ornament in Panels, Hall of Ambassadors                              144
+
+Inscriptions in the Hall of Ambassadors                              145
+
+Kufic Inscriptions, Hall of Ambassadors                              146
+
+“Wa la Ghálib ila Alá”--There is no Conqueror but
+God!--The famous Motto of Mohammed I. and his
+Successors. An Example from the Hall of Ambassadors                  147
+
+The Court of the Lions from the Templete Pomiente                    148
+
+Entrance to the Court of the Lions through the Pomiente
+Corner                                                               149
+
+North Gallery and Façade of the Hall of the Abencerrages             150
+
+The Court of the Lions from the Pomiente Corner                      151
+
+View in the Court of the Lions                                       152
+
+View in the Court of the Lions from the Hall of Justice              153
+
+The Court of the Lions                                               154
+
+General View of the Court of the Lions                               155
+
+Court of the Lions                                                   156
+
+North Gallery in the Court of the Lions                              157
+
+Section, Court of the Lions                                          158
+
+Pavilion in the Court of the Lions                                   159
+
+Fountain and East Temple in the Court of the Lions                   160
+
+Hall of Justice and Court of the Lions                               161
+
+Angle in the Hall of Justice                                         162
+
+Hall of Justice                                                      163
+
+Ceiling of the Hall of Justice                                       164
+
+The Mosque, and View of the Generalife                               165
+
+Exterior of a Window in the Mosque                                   166
+
+The Mosque, and View of the Generalife                               167
+
+Interior of the Mosque                                               168
+
+Court of the Mosque, West Façade                                     169
+
+Interior of the Mosque, converted into a Roman Catholic
+Church                                                               170
+
+Interior of the Mosque, converted into a Roman Catholic
+Church                                                               171
+
+Jalousies in the Court of the Mosque                                 172
+
+Entrance to the Hall of Ambassadors                                  173
+
+Balcony in the Hall of Ambassadors                                   174
+
+Detail of the Hall of the Arched Windows                             175
+
+Detail in the Hall of the Abencerrages                               176
+
+The Court of the Lions                                               177
+
+General View of the Court of the Lions                               178
+
+The Fountain and West Temple of the Court of the Lions               179
+
+Elevation of the Fountain of the Court of the Lions                  180
+
+The Fountain of the Court of the Lions, with Details
+of the Ornament                                                      181
+
+Plan of the Basin of the Fountain in the Court of the
+Lions                                                                182
+
+Section of the Pavilion in the Court of the Lions                    183
+
+Section of the Hall of the Two Sisters, and Section of
+Part of the Court of the Lions        184, 185
+
+Capital in the Court of the Lions, with a Scale of One
+Metre                                                                186
+
+Details of the Centre Arcade of the Court of the Lions               187
+
+Frieze over Columns, Court of the Lions                              188
+
+Detail of the Central Arch in the Court of the Lions                 189
+
+The First Six Verses of the Inscription around the Basin
+of the Fountain of the Court of the Lions                            190
+
+Entablature in the Court of the Lions                                191
+
+Cupola of the Pavilion in the Court of the Lions                     192
+
+Entrance to the Court of the Lions. Little Temple, the
+Court of the Lions                                                   193
+
+The Court of the Lions                                               194
+
+The Little Temple, and the Fountain, the Court of the
+Lions                                                                195
+
+The Court of the Lions                                               196
+
+The Court of the Lions, West Angle                                   197
+
+Morocco Embassy, December 1885                                       198
+
+The Court of the Lions from the West Temple                          199
+
+The Court of the Lions from the West Temple                          200
+
+West Gallery in the Court of the Lions                               201
+
+The Court of the Lions, Façade of the Hall of the Two
+Sisters                                                              202
+
+The Court of the Lions, Left-hand Angle                              203
+
+The Court of the Lions, Façade of the Hall of Two
+Sisters                                                              204
+
+The Court of the Lions from the Entrance                             205
+
+Detail of the Entrance to the Court of the Lions                     206
+
+Detail in the Court of the Lions                                     207
+
+Mosaics, North and South Sides, the Court of the Lions               208
+
+Hall of the Abencerrages                                             209
+
+Hall of the Abencerrages                                             210
+
+Hall of the Abencerrages                                             211
+
+Hall of the Abencerrages                                             212
+
+Wooden Doors, Hall of the Abencerrages                               213
+
+Gallery in the Court of the Fish-pond; or, of the
+Myrtles                                                              214
+
+Court of the Myrtles; or, of the Fish-pond. Façade
+of the Hall of Ambassadors                                           215
+
+Court of the Myrtles; or, of the Fish-pond                           216
+
+General View of the Court of the Myrtles; or, of the
+Fish-pond                                                            217
+
+North Side of the Court of the Fish-pond; or, of the
+Myrtles                                                              218
+
+Entrance to the Court of the Fish-pond; or, of the
+Myrtles                                                              219
+
+Gallery in the Court of the Myrtles; or, of the Fish-pond            220
+
+General View of the Court of the Myrtles and Comares
+Tower                                                                221
+
+Court of the Myrtles, East Façade                                    222
+
+Detail in the Court of the Myrtles                                   223
+
+Court of the Myrtles, East Façade                                    224
+
+Exterior of the Gallery in the Court of the Fish-pond;
+or, of the Myrtles                                                   225
+
+The Court of the Fish-pond; or, of the Myrtles                       226
+
+Ornament in the Court of the Fish-pond; or, of the
+Myrtles                                                              227
+
+Court of the Myrtles; or, of the Fish-pond, formed by
+Yúsuf I.                                                             228
+
+The Court of the Fish-pond; or, of the Myrtles. Gallery
+in the Court of the Fish-pond; or, of the Myrtles                    229
+
+The Hall of the Baths                                                230
+
+The Sultan’s Bath                                                    231
+
+The Sultana’s Bath                                                   232
+
+The Baths, Hall of Repose                                            233
+
+Chamber of Repose                                                    234
+
+Section of the Hall of the Baths                                     235
+
+Longitudinal Section through the Baths                               236
+
+Ground Plan of the Baths in the Alhambra                             237
+
+Ceiling of the Hall of the Baths                                     238
+
+Plan and Section of the great Cistern in the Alhambra                239
+
+A Section of the Baths in the Alhambra                               240
+
+Chamber of Repose. Sultan’s Bath constructed by
+Yúsuf I.                                                             241
+
+Interior of the Infantas’ Tower                                      242
+
+Sections of the Infantas’ Tower                                      243
+
+Interior of the Tower of the Infantas, Upper Part                    244
+
+Balcony of the “Captive” (Isabel de Solis), overlooking
+the Vega, or Plain, of Granada                                       245
+
+Alcove of the “Captive” (Isabel de Solis)                            246
+
+Interior of the Tower of the “Captive” (Isabel de
+Solis)                                                               247
+
+The “Captive’s” Tower from the Entrance                              248
+
+Interior of the Mosque. Room in the “Captive’s”
+Tower                                                                249
+
+Hall of Justice. Baths, the Chamber of Repose                        250
+
+Balcony of the Favourite, “Lindaraja”                                251
+
+Alcove in the “Lindaraja” Apartments                                 252
+
+Garden of “Lindaraja,” and the Apartments traditionally
+said to have been occupied by “Lindaraja,”
+a favourite Sultana                                                  253
+
+Detail, Interior of the Balcony of “Lindaraja”                       254
+
+Detail, Lower Part of the Balcony of “Lindaraja”                     255
+
+Detail of the Central Part of the Balcony of “Lindaraja”             256
+
+The Queen’s Boudoir and Distant View of the Generalife               257
+
+The Queen’s Boudoir and View of the Generalife                       258
+
+The Queen’s Boudoir and old Albaicin Quarter                         259
+
+The Queen’s Boudoir and Defile of the Darro                          260
+
+“Lindaraja’s” Garden and the Apartments in which
+Washington Irving stayed                                             261
+
+Angle of the Balcony of “Lindaraja”                                  262
+
+Balcony of the favourite “Lindaraja”                                 263
+
+Interior of the Tower of the Captive, Isabel de Solis                264
+
+Exterior of the Captive’s Tower                                      265
+
+The Tower of the Captive, Isabel de Solis                            266
+
+Interior of the Infantas’ Tower, Upper Part                          267
+
+Interior of the Infantas’ Tower                                      268
+
+Detail of the Upper Part of the Balcony of “Lindaraja”               269
+
+Hall of the Two Sisters                                              270
+
+Entrance to the Hall of the Two Sisters                              271
+
+Interior of the Hall of the Two Sisters                              272
+
+Hall of the Two Sisters                                              273
+
+Hall of the Two Sisters                                              274
+
+Temple and Façade of the Hall of the Two Sisters                     275
+
+View in the Hall of the Two Sisters                                  276
+
+Hall of the Two Sisters from the Entrance Door, built
+by Yúsuf I.                                                          277
+
+Upper Balcony of the Hall of the Two Sisters                         278
+
+Hall of the Two Sisters from the Entrance Door                       279
+
+Ceiling of the Hall of the Two Sisters                               280
+
+Detail of the Upper Story, Hall of the Two Sisters                   281
+
+Detail of the Lateral Windows of the Hall of the Two
+Sisters                                                              282
+
+Detail in the Hall of the Two Sisters                                283
+
+Panel, Ornament, and Inscriptions in the Hall of the
+Two Sisters                                                          284
+
+Inscription in the Hall of the Two Sisters                           285
+
+Frieze in the Hall of the Two Sisters                                286
+
+Panel on Jambs of Doorways, Hall of the Two Sisters                  287
+
+Details of the Glazed Tiles in the Dado of the Hall
+of the Two Sisters                                                   288
+
+Band round Panels in Windows, Hall of the Two Sisters                289
+
+Mosaic in Dado of Recess. Mosaic in Dado of the
+Entrance to the Hall of the Two Sisters                              290
+
+Mosaic in Dado of Hall of Ambassadors. Mosaic in
+Dado of the Hall of the Two Sisters                                  291
+
+Wine Gate. West Façade                                               292
+
+Detail of the only ancient “Jalousie” remaining in
+the Alhambra                                                         293
+
+El Jarro. Arab Vase now in the Museum of the Palace                  294
+
+El Jarro. The Arabian Vase and Niche in which it
+formerly stood, Hall of the Two Sisters                              295
+
+An Arab Vase of the Fourteenth Century in the Niche
+wherein it stood until the Year 1837                                 296
+
+Sword of the last Moorish King of Granada, commonly
+called “The Sword of Boabdil”                                        297
+
+The Surrender of Granada by Boabdil to Ferdinand
+and Isabella, January 2, 1492                                        298
+
+Gold Coin (obverse and reverse) of Mohammed I., the
+Founder of the Alhambra, who reigned 1232-1272
+A.D.                                                                 299
+
+Details and Inscriptions, and Arabian Capitals                       300
+
+The Gothic Inscription set up in the Alhambra by the
+Count of Tendilla, to commemorate the Surrender
+of the Fortress in 1492                                              301
+
+Mosaic Pavement in the Queen’s Dressing-room (Tocador
+de la Reyna.)    Mosaic, from a Fragment in
+the Alhambra                                                         302
+
+The House of Carbon                                                  303
+
+The ancient Granary Market and House of Carbon                       304
+
+Elevation of the Casa del Carbon, or House of
+Carbon, once known as the House of the Weathercock                   305
+
+Courtyard of a Moorish House in the Albaicin                         306
+
+Interior of an Arab House in the Albaicin                            307
+
+The Proclamation of Boabdil. By Plácido Frances
+(National Exhibition of Beaux Arts, 1884)                            308
+
+The Author in the Alhambra                                           309
+
+Cornices, Capitals, and Columns in the Alhambra                      310
+
+Miscellaneous Ornament in the Alhambra                               311
+
+The Fable of Jupiter and Leda in the Alhambra                        312
+
+Bas-relief, now in the Museum of the Alhambra                        313
+
+Arabian Sword                                                        314
+
+Capitals from the Courts and Halls of the Alhambra                   315
+
+Encaustic-tile Work in the Royal Room of Santo
+Domingo                                                              316
+
+Various Mosaics from the Alhambra                                    317
+
+Inscriptions in the Alhambra                                         318
+
+Plan of the Palace of Charles V. and of the Subterranean
+Vaults of the Alhambra                                               319
+
+General View of the Alhambra from the Homage Tower                   320
+
+Ancient Cistern. Early Fourteenth Century                            321
+
+The Alhambra (_Specially drawn for the Spanish
+Series_)                                                             322
+
+Part of Exterior of the Palace of Charles V.                         323
+
+Elevation of the Palace of Charles V.                                324
+
+Section of the Palace of Charles V.                                  325
+
+Fountain of the Emperor Charles V.                                   326
+
+View of the Alhambra from the Homage Tower                           327
+
+Interior of the Palace of Charles V.                                 328
+
+Doorway of the Palace of Charles V.                                  329
+
+Bas-relief in the Palace of Charles V.                               330
+
+Porch of the Palace of Charles V. from the West                      331
+
+Roman Court, Palace of Charles V.                                    332
+
+Ground Plan of the Generalife at Granada                             333
+
+The Generalife                                                       334
+
+The Principal Court of the Generalife                                335
+
+The Court of the Fish-pond in the Generalife                         336
+
+Promenades and Gardens of the Generalife                             337
+
+The Generalife                                                       338
+
+Front View of the Portico of the Generalife                          339
+
+Transverse Section of the Royal Villa of the Generalife              340
+
+Gallery in the Generalife                                            341
+
+The Generalife. Gallery in the Acequia Court                         342
+
+The Generalife.   Entrance to the Portrait Gallery                   343
+
+Garden of the Generalife                                             344
+
+Elevation of the Portico of the Generalife                           345
+
+The Acequia Court in the Generalife                                  346
+
+A Corner of the Acequia Court in the Generalife                      347
+
+Cypress Court. A Corner in the Acequia Court                         348
+
+The Cypress of the Sultana in the Generalife                         349
+
+A Ceiling in the Generalife                                          350
+
+The Generalife. The Acequia Court from the Main
+Entrance                                                             351
+
+The Generalife.    The Acequia Court from the Interior               352
+
+Exterior View of the Generalife                                      353
+
+Entrance to the Generalife                                           354
+
+The Generalife. Court of the Sultana’s Cypress                       355
+
+The Generalife. The Acequia Court from the Interior                  356
+
+South Façade of the Palace of Charles V.                             357
+
+Bas-relief in the Palace of Charles V.                               358
+
+Bas-relief in the Palace of Charles V.                               359
+
+Gate of the Granadas                                                 360
+
+Promenades and Hotels of the Alhambra                                361
+
+The Gate of Justice and Fountain of Charles V.                       362
+
+Environs of the Alhambra. Fountain of Charles V.                     363
+
+Gate of Justice. Principal Entrance to the Alhambra                  364
+
+Gate of Justice                                                      365
+
+Wine Gate. East Façade                                               366
+
+Environs of the Alhambra. Tower of the Peaks                         367
+
+Tower of the Peaks                                                   368
+
+General View of the Alhambra from the Silla del
+Moro                                                                 369
+
+General View of the Alhambra from the Gypsy
+Quarters                                                             370
+
+General View of the Alhambra from the Generalife                     371
+
+View of Granada and the Alhambra from the Sacromonte                 372
+
+General View of the Alhambra from San Nicolas                        373
+
+The Watch Tower, the Cathedral, and Granada                          374
+
+Villas on the Banks of the River Darro                               375
+
+A View of the Alhambra                                               376
+
+Villas on the Banks of the River Darro                               377
+
+The Watch Tower and Cathedral                                        378
+
+The Red Tower                                                        379
+
+The Homage Tower and Gypsy Quarters: exterior of
+their Caves                                                          380
+
+Carrera del Rio Darro                                                381
+
+The Gate of Elvira. The old Entrance to the Fortifications           382
+
+Washing Place in the Puerta del Sol                                  383
+
+Courtyard of an Arab House                                           384
+
+A Moorish Archway                                                    385
+
+Interior of an old House in the Calle del Horno de Oro               386
+
+Interior of an old House in the Albaicin                             387
+
+The Cathedral and General View                                       388
+
+General View of the Cathedral                                        389
+
+General View of the Exterior of the Cathedral                        390
+
+Entrance to the Royal Chapel                                         391
+
+Exterior of the Royal Chapel of the Catholic Sovereigns              392
+
+Detail of the Exterior of the Royal Chapel                           393
+
+Exterior of the Royal Chapel                                         394
+
+Exterior of the Cathedral                                            395
+
+Exterior of the Royal Chapel                                         396
+
+Exterior of the Cathedral. The Gate of Pardon                        397
+
+Gothic Pinnacle on the Royal Chapel                                  398
+
+The Cathedral. View from the Choir                                   399
+
+The   Cathedral. General View of the Chancel and
+High Altar                                                           400
+
+Bas-relief in the Altar-piece of the Royal Chapel                    401
+
+General View of the Chancel in the Cathedral                         402
+
+The Royal Chapel. Sepulchre of the Catholic Sovereigns               403
+
+The Royal Chapel. Detail of the Sepulchre of the
+Catholic Sovereigns                                                  404
+
+The Royal Chapel. Sculpture of King Ferdinand the
+Catholic                                                             405
+
+Sepulchre of Ferdinand                                               406
+
+Sepulchre of Isabella the Catholic                                   407
+
+Portal of the Church of San Juan de Dios                             408
+
+Sepulchre of Alonso Caño in San Gerónimo                             409
+
+Head of John the Baptist                                             410
+
+Head of John the Baptist                                             411
+
+Head of John the Baptist                                             412
+
+Exterior of the Cartuja Monastery                                    413
+
+Sacristy in the Cartuja, Left Side                                   414
+
+Sacristy in the Cartuja, Right Side                                  415
+
+Cartuja. Sancta Sanctorum                                            416
+
+Cartuja. Detail of the Cupboards in the Sacristy                     417
+
+Altars in the Cartuja. Pictures by Sanchez y Cotán,
+a Monk of the Order                                                  418
+
+Cartuja. The Immaculate Conception. By Murillo                       419
+
+Cartuja. The Virgin of the Rosary. By Murillo                        420
+
+Cartuja. St. Joseph and the Child. Sculpture by
+Alonso Caño                                                          421
+
+Cartuja. St. Mary Magdalene. Sculpture by Alonso
+Caño                                                                 422
+
+Cartuja. Horsemen hanging Martyrs. By Sanchez
+Cotán                                                                423
+
+Cartuja. The Baptism of Our Lord. By Sanchez
+Cotán                                                                424
+
+Cartuja. The Holy Family. By Sanchez Cotán                           425
+
+The Crucifixion of Our Lord. By Morales                              426
+
+The Conception of Our Lady. By Morales                               427
+
+The Gypsy Quarters. Exterior of the Caves                            428
+
+The Gypsy Quarters. An “At Home”                                     429
+
+Gypsy Dance in their Quarters                                        430
+
+Gypsy Types at the Doors of their Caves                              431
+
+Gypsy Dance in their Quarters                                        432
+
+Gypsy Dancers and their Captain, J. Amaya                            433
+
+Bridge of the Genil                                                  434
+
+General View                                                         435
+
+General View of the old Albaicin                                     436
+
+General View from the Watch Tower                                    437
+
+Old Arab Palace, now the Property of a Spanish Nobleman              438
+
+The old Town Hall                                                    439
+
+The Royal Gate and Street of the Catholic Sovereigns                 440
+
+Monument to Columbus in the Paseo del Salon                          441
+
+The Raw Silk Market                                                  442
+
+The Raw Silk Market. Ancient Arab Silk Market                        443
+
+Exterior of an old House, Cuesta del Pescado                         444
+
+The Court of Justice                                                 445
+
+Carrera del Darro                                                    446
+
+Market and Gypsy Fair in the Triunfo                                 447
+
+Calle de San Anton                                                   448
+
+Antequeruela Quarter, Sierra Nevada, and the “Last
+Sigh of the Moor”                                                    449
+
+Carrera de Genil and View of the Sierra Nevada                       450
+
+Plaza de Mariana Pineda, Arab House, and View of the
+Sierra Nevada                                                        451
+
+General View of the Alhambra and of the Sierra Nevada
+from St. Michael                                                     452
+
+Huétor High Road and View of the Sierra Nevada                       453
+
+Villas on the Borders of the River Darro                             454
+
+Defile of the Darro                                                  455
+
+The Green Bridge and View of the Sierra Nevada                       456
+
+View of the Sierra Nevada                                            457
+
+General View of the Sierra Nevada and the River Genil                458
+
+Granada. (_Specially drawn for the Spanish Series_)                  459
+
+Arms of Granada                                                      460
+
+Plan of Granada                                               _page_  89
+
+
+
+
+GRANADA
+
+THE CITY OF THE MOOR
+
+
+Granada is the creation of the Moors. Its history is all of them--the
+record of their glory and their fall. The Pomegranate, as its conqueror
+styled it, ripened only in the warm sunshine of Islam, and withered with
+its decline. Under the Christian, it fell from the rank of a splendid
+capital to a poor provincial town. Now it subsists merely as a great
+monument to a vanished race and a dead civilisation.
+
+With Granada before it became the centre of an independent kingdom, we
+need concern ourselves but little. Its real interest dates from the
+establishment of the Nasrite dynasty in the first half of the thirteenth
+century. It was the time when the great Almohade Empire was breaking up.
+Probably all Andalusia would have shared the fate of Cordova and
+Seville, and the conquests of the Catholic kings been anticipated by two
+centuries, had not a young man of Arjona, Ibn Al Ahmar by name,
+determined to fashion for himself a kingdom out of the fragments of
+empire. With an ever-increasing following, he seized upon Jaen in 1232,
+and obtained possession of Granada itself in 1237. City after city
+opened its gates to him, including Malaga and Almeria, and in 1241 he
+was recognised as Lord and Sultan of all the territory between the
+Sierra Morena and the Pillars of Hercules, from Ronda to Baza.
+
+A great man, in every sense, was this founder of the Nasrite dynasty.
+His presence was fine and commanding, his manner bland and amiable, his
+courage worthy of the heroic age. For all his valour and prowess on the
+battlefield, no monarch prized peace more highly. He proved himself a
+true national hero and the father of his people. He fostered industry
+and agriculture, was a patron, like all his race, of arts and letters,
+and encouraged immigration by every means in his power. A far-sighted
+statesman, he perceived that a state so limited in area as his own could
+only hope to exist by virtue of an unusual density of population, and he
+offered every inducement to Muslims from the provinces conquered by the
+Christians to settle within his dominions. Granada was the last hope of
+Islam in Europe, and he resorted to all possible means to safeguard it.
+He concluded alliances with the rulers of Morocco, Tlemsen, and Tunis,
+and even of distant Baghdad. Above all, he neglected no means of
+humouring and conciliating the irresistible Castilian. He negotiated an
+alliance with Fernando III., binding himself to attend the Cortes (a
+curious stipulation for a Mohammedan) and to attend the king in his wars
+with 1500 lances. This latter part of the bargain he was speedily called
+upon to fulfil, and against his own co-religionists of Seville. It
+seemed an unnatural warfare, but, to palliate the iniquity, let it be
+said that Ibn Al Ahmar probably looked upon the Almohade citizens of
+Ishbiliah as heretics. At all events, whether his conscience approved
+his action or not, he contributed in no small measure to Fernando’s
+success, and was hailed enthusiastically as a conqueror upon his return
+to Granada. That the assistance he rendered was not looked upon as
+altogether voluntary by the people of Seville is shown by the fact that
+thousands of them migrated to his dominions and settled there.
+
+Ibn Al Ahmar dreaded the might of Castile. The only hope for the
+Mohammedans of Spain lay, he knew, in rest and consolidation. Careful
+not to give offence to his dreaded neighbour, he courteously received
+the revolted and exiled Infante Don Enrique when he sought refuge at
+Granada, but sent him on to Tunis with letters recommending him to the
+Sultan of that country. All his diplomacy, however, could not avert a
+war with Alfonso, and to add to his troubles, the Walis of Guadix,
+Malaga, and Gomares revolted against his authority. But an insurrection
+soon after broke out in Castile, and Alfonso was compelled to leave the
+Walis to fight their own battles. Ibn Al Ahmar, an old man of eighty
+years, wearily girded on his armour for another of the campaigns he had
+learned to hate. But his time for rest had come at last. A few miles
+beyond the gates of his capital, his charger threw him, as he rode at
+the head of his army. He breathed his last at sundown, by the roadside,
+surrounded by his weeping warriors. It was a dark night for Granada.
+
+Al Ahmar’s son, under the style of Mohammed II., succeeded him at the
+age of thirty-eight years, on January 21, 1273. Arabic historians have
+lavished their encomiums upon him, as indeed upon most of his dynasty.
+He is described as a warrior and a statesman, as a man of letters and a
+poet of considerable ability. During his reign of twenty-nine years, he
+was almost continuously at war. Soon after his accession he crushed the
+rebel Walis at Antequera, and then paid a visit to Alfonso X. at
+Seville, with a view to detaching the Castilian king from his alliance
+with the defeated insurgents. In this he was successful. Queen Violante,
+however, at the conclusion of his visit, asked of him a boon, which,
+according to the custom of the times, as a true knight, he was bound to
+grant. He then discovered, too late, that he had been tricked into
+granting a year’s truce to the Walis. Smouldering with rage, he returned
+to Granada and spent the year in maturing plans for the complete
+overthrow of his enemies. This he effected with the aid of the Sultan
+Yusuf of Morocco, whose army of 100,000 men landed at Tarifa in 1275.
+The Africans, as on previous occasions in Moorish history, proved
+dangerous allies. Mohammed found himself embroiled in a long and
+absolutely unprofitable war with Castile, and had the mortification of
+seeing the Africans possess themselves of Algeciras, Tarifa, and Malaga.
+He recovered possession of the latter town by bribing the governor to
+exchange it for the town of Salobreña, to be held as a personal
+acquisition; and rid himself at last of the troublesome Africans by
+means of an alliance with Sancho of Castile. But in 1302 we find him
+again at war with the Christians, fighting against whom he died.
+
+Mohammed III. was the worthy son of his father, and is specially
+commended for his indefatigable energy. He took a short way with
+traitors, even for those rough times. Ibn Nasr, the governor of Guadix,
+having been removed from his office by the Sultan, exerted himself to
+form a faction in his favour. Mohammed III., hearing of this, summoned
+him to court, and had him slain there and then in his presence. A more
+honourable exploit was his conquest of the town of Ceuta, opposite
+Gibraltar, in the year 1306. With the rich spoils of the foray, he built
+a magnificent mosque at Granada, resplendent with gold and silver,
+jasper and marble. His success perhaps excited the jealousy of the
+Catholic powers. Attacked on either side by the Kings of Castile and
+Aragon, he was forced to conclude a humiliating peace. On his return to
+his capital he was seized in the Alhambra itself by a band of
+conspirators and forced to abdicate in favour of his brother, Muley
+Nasr. The new Sultan began his reign with some military successes
+(1309). He forced Jaime of Aragon to raise the siege of Almeria; but as
+a set-off, he had to deal with conspiracies and rebellions at home, the
+most formidable of these being headed by his nephew, Abu-l-Walid. In the
+midst of these complications a curious incident occurred. Nasr was
+stricken with apoplexy and left for dead. His deposed brother, Mohammed
+III., was then released by some courtiers and brought to Granada, only
+to find that the usurper had recovered his health and his crown. The
+luckless Mohammed did not long survive his partisans’ mistake. But
+retribution speedily overtook his brother. He was forced to yield to
+Abu-l-Walid, and was glad to be allowed to retire to Guadix, the
+sovereignty of which was allotted to him. Usurper though he was, Nasr
+conducted himself with the dignity of a philosopher. His rival’s triumph
+chagrined him not at all, and when invited by Pedro I. to join him in an
+attack on Granada, he patriotically declined. He was a brave man, who
+did not complain at meeting the fate to which he had subjected others.
+
+The new monarch of Granada, Abu-l-Walid Ismail, was a fighter and a
+fanatic. He was fond of saying that he believed only in God and his good
+sword. His faith in the latter weapon was justified. He annihilated a
+Spanish army which had approached Granada, among the slain being the
+Infantes, Don Juan and Don Pedro; and carrying his victorious arms
+eastwards, wrested Baza and Martos from the enemies of his race. But
+others also reposed their faith in the sword. Like another Agamemnon, he
+appropriated a beautiful captive, the prize of the young Mohammed of
+Algeciras. Three days after his triumphal entry into his capital he fell
+at the gates of the Alhambra, a victim to the poniard of the man he had
+injured. Perceiving his sovereign to be at the point of death and
+resolving to avert the horrors of a disputed succession, the Wizir
+summoned the chief men of Granada to the palace, and announced that
+Abu-l-Walid was recovering from his wounds. The royal order was that all
+present should take the oath to the boy-prince, Muley Mohammed Ben
+Ismail, as successor to the kingdom. When this command had been obeyed,
+the wily Wizir announced the death of Abu-l-Walid and the accession of
+Mohammed IV. This was in the year 1325.
+
+When he had freed himself from the control of an unpopular regent, the
+young Sultan displayed qualities of heart and mind in no way inferior to
+those of his progenitors. It must be admitted that Arab historians have
+been somewhat too partial to this line of kings, for there is hardly one
+who is not described more or less explicitly as a paragon of all the
+virtues. Mohammed IV. had to fight hard to hold his own against the
+Spaniards on one side and the Africans on the other. He took Gibraltar,
+and lost it again to Abu-l-Hasan of Fez. But the African king was soon
+after obliged to ask his help to hold the fortress against the
+Christians. Mohammed generously responded to the appeal, fell like a
+thunderbolt upon the Spanish camp, and raised the siege. He was ill
+repaid. In August 1333, he was imprudent enough to reproach his African
+allies with their inability to hold the fortress; and a day or two
+later, having sent his army home, made an excursion to the summit of
+the Rock. He was followed by some among those he had reproached, and
+quickly despatched by their poniards. His body, naked and mangled, was
+found at the foot of the Rock, and conveyed to Malaga. No attempt seems
+to have been made to identify or to punish his murderers.
+
+The ill-fated Mohammed was succeeded by his brother, Yusuf I.,
+Abu-l-Hejaj. While possessed, of course, of the virtues which seem to
+have been inherent in the Nasrite dynasty, this prince was exceptional
+in being an ardent, almost a passionate, lover of peace. He believed,
+says Don Francisco Pi Margall, that it was more glorious to remedy evils
+than to attempt perilous enterprises. Assisted by his able Wizir,
+Redwân, he revised the laws and purified the administration of justice.
+He built a magnificent palace at Malaga, and the great aljama or mosque
+at Granada, of which no trace remains. Abandoning for once his settled
+policy, he joined the Africans in a war against Castile. He was badly
+beaten, and was glad to negotiate a truce of ten years. At the end of
+that time, Alfonso of Castile died, and the Sultan of Granada was
+stabbed to death by a madman, while at his prayers in the mosque, in the
+year 1354.
+
+Mohammed V. was as virtuous and as unfortunate as his father. He had
+reigned but four years when he was attacked in his own palace by the
+partisans of his half-brother, Ismail. Narrowly escaping death, he fled
+to his harem, and in the disguise of a slave eluded his pursuers and
+made his way to Guadix. Ismail II. ran a brief and inglorious career,
+and was dethroned and slain (1360) by the “Red King,” Abu Saïd.
+Meantime, Pedro I. of Castile espoused the cause of the lawful sultan
+and invaded the territory of Granada. But the magnanimous Moor would not
+consent to remount the throne at the cost of his people’s blood. Pedro
+accordingly withdrew, but freed Mohammed from his enemies by murdering
+Abu Saïd when the latter incautiously paid a visit to Seville. Mohammed
+was reinstated on his throne, and mindful of the services rendered him
+by Pedro, advanced to his support with a Grenadine army against Enrique
+de Trastamara. The tragedy of Montiel made a continuance of the struggle
+useless, and the Moorish sultan devoted the remainder of his reign to
+improving the condition of his subjects. He founded charitable
+institutions and asylums, and raised Granada to a high pitch of
+prosperity. The city, according to the contemporary writer, El Khattib,
+became the metropolis of the Mediterranean, the emporium of commerce,
+and the common fatherland of all nations. Under Mohammed V., the kingdom
+may be considered to have reached its zenith. Thence to its nadir we
+count but a century of years.
+
+Yusuf II., who succeeded his father in 1391, was so averse to war that
+his subjects suspected him of Christian sympathies. His son rose against
+him, and the pacific monarch was disposed to abdicate rather than draw
+the sword. The exhortations of the Moroccan ambassador induced him to
+take a manlier course, and putting himself at the head of the army
+lately arrayed against him, he ravaged Murcia with fire and sword. It
+was against this peace-loving sultan that Don Martin de la Barbuda, the
+Quixotic Master of Calatrava, directed his wild expedition--defeated, of
+course, and emphatically disavowed by Enrique III. of Castile. Yusuf’s
+younger son and successor, Mohammed VII.,[A] was a prince of a very
+different stamp. Accompanied by only twenty-five horsemen, he penetrated
+to Toledo, and negotiated in the heart of Castile with Enrique III. The
+peace thus concluded was soon interrupted, and Mohammed was quickly
+waging war throughout the length and breadth of Andalusia. The war
+continued with varying fortunes, and was carried on, as was usual in
+those days, by a series of forays, neither side making any determined
+effort to take the other’s capital or to secure his conquests. On
+feeling his end approaching, the warlike Sultan bethought him of his
+elder brother, Yusuf, whom he had confined in the castle of Salobreña.
+Fearing that the captive might now supplant his own son, Mohammed sent a
+messenger to command his execution. Yusuf was playing chess with the
+governor of the castle when the fatal mandate arrived. He asked leave of
+the emissary to finish the game, and before he had made the final move,
+the news arrived of the death of Mohammed and of his proclamation as
+Sultan of Granada. Yusuf showed himself as calm and unmoved at his
+accession to the throne as when he had stood upon the threshold of
+death.
+
+As peaceably disposed as his father, Yusuf III. had to withstand some of
+the most determined assaults upon his doomed kingdom. In his reign took
+place the celebrated siege of Antequera by the Castilians, the survivors
+of which founded the suburb of Antequeruela adjacent to Granada. Yusuf
+ultimately found peace and a valuable ally as the outcome of a strange
+story of fraternal animosity. The people of Gibraltar revolted against
+Granada and proclaimed themselves the subjects of Fez. The Sultan of
+that realm sent his hated brother, Abu Saïd, to take possession of the
+town, and treating him as David did Uriah, left him at the mercy of the
+enemy. Yusuf, however, treated the captured prince with generosity, and
+showed him a letter which he shortly after received from the Sultan of
+Fez, requesting that he might be poisoned. Thirsting for vengeance, Abu
+Saïd procured arms and soldiers at Granada, and, invading Morocco, drove
+his perfidious brother from the throne. Thereafter he was the sworn ally
+of the Sultan of Granada, whom Castile and Aragon no longer ventured to
+trouble. Yusuf III. passed away in 1417.
+
+The history of Granada is henceforward one of almost continuous
+revolution and tumult. Mohammed VIII. was driven into exile by a
+namesake reckoned as the ninth of his name, and then restored by a
+counter-revolution. A Castilian army ravaged the Vega up to the walls of
+the capital. Granada itself would have fallen, had not Juan II. and the
+great Constable, Alvaro de Luna, been recalled to Castile by the
+disorders which resulted in the latter’s overthrow. An earthquake
+desolated the distracted kingdom; and we may suppose that Mohammed VIII.
+was not altogether sorry when he abandoned his throne to a pretender and
+fled to Malaga.
+
+The new sultan, Yusuf IV., held his throne as a fief of Castile, the
+support of which he had to purchase with humiliating concessions. He
+anticipated inevitable assassination by dying after sixteen months of
+authority; and for the third time, Mohammed VIII. was proclaimed at
+Granada (1432). Hostilities with Castile were at once renewed. This time
+the fortune of war was with the Moors, who routed their opponents at
+Illora, Archidona, and Castril. But Mohammed VIII.’s star was never long
+in the ascendant. He quarrelled with the powerful family of the
+Abencerrages; and, deprived of their support, was finally expelled from
+his kingdom, by his kinsman, Aben Osmin.[B] The usurper was victorious
+over the Christians and took several strongholds, but his army suffered
+at last a bloody defeat at Alporchones. This reverse seems to have
+maddened Osmin, who henceforward conducted himself as a tyrant of the
+old Roman type. Revolutions had now become as frequent in Granada as in
+some South American states. The usurper ran his brief career, and was
+then forced to make room for Mohammed VIII.’s cousin Saïd. Granada was
+all for peace. Tribute was paid to Enrique IV. of Castile, Christian
+captives released--all in vain. The intermittent warfare went on as
+before. Jaen, Archidona, Gibraltar, were lost, despite the desperate
+valour of the Prince, Muley Hassan, and of the Chieftain, Ibrahim, who,
+on being vanquished, plunged on horseback into the depths of a ravine.
+At last, however, the distracted Ibn Ismail obtained peace for his
+wretched country by a personal interview with Enrique, outside the walls
+of Granada. He devoted the remainder of his reign to the encouragement
+of commerce, industry, and agriculture in his dominions--labour that did
+not benefit even those who were to succeed him; and died at Almeria in
+the year 1465. The knell of the Moorish Empire in Europe was sounded
+over his bier.
+
+The reigns of Ali Abu-l-Hassan, Mohammed XI. (Boabdil), and Mohammed
+XII. (Az-Zaghal) covered the years 1465-1492, during which the downfall
+and extinction of the kingdom were accomplished. The history of these
+events has already filled many bulky tomes, and has been made familiar
+to English readers by the works of Prescott. Even our brief survey,
+however, cannot be concluded without a summary of the last chapter of
+the story of Granada.
+
+The character of Muley Ali Abu-l-Hassan was the reverse of his
+predecessor’s. He was arrogant, impetuous, and warlike, a fanatical
+hater of the Christians, and a zealous Muslim. In the first years of his
+reign he gained some successes over the feeble Enrique IV., and proved
+himself strong enough to quell a revolt at Malaga. But he let slip the
+opportunity of attacking the new sovereigns of Spain, Ferdinand and
+Isabel, when they were engaged in war with the partisans of “La
+Beltraneja,” nor did he make any attempt to effect an alliance with
+their numerous enemies. State-craft does not appear to have been
+possessed to any great extent by the descendants of Al Ahmar. In 1476,
+Abu-l-Hassan condescended to sue for a renewal of the alliance with the
+Queen of Castile; but when Ferdinand of Aragon made the payment of the
+tribute stipulated by Ibn Ismail a condition of the treaty, the Moor’s
+proud nature revolted. “Return to your sovereigns,” he said to the
+Spanish ambassadors, “and tell them that the sultans who paid tribute to
+the Christians are dead; that here we manufacture only iron spear-heads
+for our enemies.” These words sealed the fate of the Moors in Spain,
+though the ruler who uttered them probably thought them merely the
+prelude to just such a frontier war as had raged intermittently for so
+many years.
+
+The first act in the long-drawn-out drama was the capture of Zahara by
+the troops of Granada, in 1481--provoked by the predatory incursions of
+the Marquis of Cadiz. The Christian garrison was surprised during a
+furious tempest, and put to the sword. The rest of the inhabitants were
+carried off in captivity to Granada. Abu-l-Hassan, inflated with pride,
+returned to his capital. There were popular rejoicings, but the wiser
+Moors shook their heads and predicted that the ruins of Zahara would
+fall upon their own city.
+
+The fiery chivalry of Andalusia were not slow to retaliate. Two months
+after the capture of Zahara, the more important Grenadine stronghold of
+Alhama was taken by storm by the forces of the Marquis of Cadiz. The
+news produced the utmost consternation in Granada. Abu-l-Hassan at once
+set out with 53,000 men, and invested the place. Ferdinand the Catholic,
+who had now conceived the idea of reducing the whole kingdom of Granada,
+hurried to its relief; but he had only reached Lucena when tidings
+arrived of the raising of the siege by the Marquis’s hereditary foe, the
+Duke of Medina Sidonia. Abu-l-Hassan returned to the attack a few weeks
+later, and Ferdinand resumed his advance, before which the Moors
+retired. The Catholic sovereigns made their triumphal entry into Alhama
+on May 14, 1482.
+
+Great preparations were made throughout Castile and Aragon for the
+prosecution of the war, but the army actually assembled before Loja on
+July 1--16,000 men--fell far short of Ferdinand’s requirements and
+expectations. The town was ably defended by one of the bravest Moorish
+chieftains, Ali Atar, who repulsed the Christians with severe loss. The
+King of Aragon narrowly escaped with his life, and was compelled to beat
+a retreat. Abu-l-Hassan swept the country as far as the Rio Frio.
+
+Such a success, if it had been followed up, might have turned the scale
+in favour of the Moors. But at Granada, treason always followed closely
+on the heels of victory. Years before, a beautiful Christian captive,
+Doña Isabel de Solis, daughter of the Governor of Martos, had been added
+to the Sultan’s harem. Under the name of Zoraya, in the course of time,
+she bore him a son, Abu Abdullah, and rose to the rank of favourite
+Sultana.[C] Now, jealous, it is said, of a Greek slave, or perhaps
+antagonised by the first Sultana, Ayesha, she fomented a conspiracy
+against her aged lord, and was imprisoned with her son in the Alhambra.
+Thence they contrived to escape, and, exciting the populace in their
+favour, obliged Abu-l-Hassan to seek refuge at Malaga. Abu Abdullah,
+better known as Boabdil, or el Chico (the little), reigned in his stead,
+but Baza, Guadix, and other eastern towns remained faithful to their old
+allegiance.
+
+These dissensions among the Moors, though ultimately benefiting the
+Spaniards, contributed indirectly to one of the most serious disasters
+that befell the latter during the campaign. For an expedition against
+Malaga, headed by the Marquis of Cadiz and the Grandmaster of Santiago,
+while threading its way through the passes of the Ajarquia, was attacked
+by the lieutenants of the old lion, Abu-l-Hassan, and cut to pieces.
+Eight hundred Spaniards were left dead on the field. Boabdil, emulous of
+the glory his father had acquired, marched out of Granada with 9700 men,
+and gave battle to the enemy under the Count of Cabra, near Lucena. The
+Moors were totally defeated, their bravest general, Ali Atar, was slain,
+and Boabdil himself captured by a private soldier, named Martin Hurtado.
+
+Had this unlucky prince been left in the hands of his enemies, the war
+might have had a different result, but his mother and followers at once
+made proposals for his release. This was finally effected by a most
+dishonourable treaty. Boabdil was accorded a two years’ truce, covering
+all places that acknowledged his authority, and in return bound himself,
+not only to pay a tribute of twelve thousand golden ducats, but to
+assist with supplies the Spanish troops passing through his dominions to
+attack his own father. Having thus exchanged his honour for his liberty,
+the miserable Sultan returned to his capital, to find that the old King
+had possessed himself of the Alhambra. A collision between the two
+factions deluged the streets of Granada with blood. The alfakis and
+ancients at length arranged an armistice, and Boabdil was suffered to
+retire to Almeria, which was assigned to him as capital and residence.
+
+For the next four years, the Catholic sovereigns abstained from any
+important military demonstration, contenting themselves with ravaging
+the wretched country and harrying its frontiers with incessant forays
+and marauding expeditions. Meanwhile, a strong man appeared on the scene
+in the person of Abu-l-Hassan’s brother, Abdullah Az-Zaghal. Determined
+to put an end to the divisions which, more than the prowess of the
+Spaniards, were bringing about the ruin of his country, this prince
+swept down upon Almeria, slew the governor, took prisoner Zoraya, but
+failed, alas! to secure the person of Boabdil, who fled to Cordova and
+placed himself under Ferdinand’s protection. Not long after,
+Abu-l-Hassan, aged and worn out, abdicated in favour of his warlike
+brother, and died at Mondujar. This event strengthened Boabdil’s claims
+upon the tottering throne; and he entered into a compact with his uncle,
+whereby both were to reign in Granada, the one in the Albaicin, the
+other in the Alhambra. Anxious to redeem his reputation, the newly
+restored monarch attacked the Christians near Loja with vastly inferior
+forces. He was soundly beaten and forced to take refuge in the Alcazar
+of Loja, whence he was only allowed to emerge on renewing the
+humiliating treaty he had concluded at Cordova. He was not, however,
+disposed to yield the crown to his rival, and returning to Granada,
+surprised and seized the Alcazaba. One of the most desperate conflicts
+recorded in the history of the city then occurred between the partisans
+of the rival sultans. Further bloodshed was at last averted by the
+intervention of ambassadors sent by Ferdinand. The old dual arrangement
+seems to have been temporarily resumed. Meanwhile, Ferdinand and Isabel
+once more took the field, and, in 1487, they invested and captured
+Velez-Malaga and the important city of Malaga, notwithstanding
+Az-Zaghal’s efforts to relieve both places. The brave Sultan now
+abandoned the capital to his nephew, and established his headquarters at
+Almeria. He succeeded throughout the year 1488, in repelling an invasion
+of his province; but in the following year, after the fall of the strong
+city of Baza, he bowed, as he himself expressed it, to the will of
+Allah, and surrendered all the places in his possession, including
+Almeria and Guadix, to the Catholic sovereigns. Mohammed XIII., as he is
+styled by Moorish historians, retired to Algeria, where he died, years
+afterwards, in indigence and obscurity.
+
+There remained now, of all the Moorish dominions in Europe, but the
+single city of Granada, of which Mohammed XII., Boabdil, was at last
+undisputed sovereign. He formed the manly resolution to sell his
+hard-won crown as dearly as possible. He sallied from Granada, took
+Alhendin and Marchena by assault, and laid waste the country in
+possession of the Christians. Summoned by Ferdinand and Isabel to
+surrender the city in accordance with an alleged treaty, he replied, and
+probably with truth, that his proud and exasperated subjects would not
+permit him to do so. The population of Granada was swollen by refugees
+from all parts of the kingdom to thrice its normal figure. The Spanish
+king perceived that the surest method to reduce it was by blockade. With
+20,000 men, including some of the first chivalry of all Europe, he
+entered the Vega, and built the town of Santa Fé, almost at the gates of
+the threatened city. This permanent establishment of the Infidels on
+their native soil plunged the Moors into profound gloom. No ray of hope
+remained to the unfortunate Boabdil. The city endured the horrors of a
+famine. The Spanish fleet precluded all hope of supplies from Africa,
+towards which country the wretched people still turned in expectation of
+help. The negotiations for the capitulation which the Sultan most
+reluctantly entered upon in October 1491, had to be conducted, through
+fear of the populace, with profound secrecy. Indeed, at the last moment,
+Boabdil, in danger of his life, besought Ferdinand to accelerate his
+entrance into the city. On January 2, 1492, accordingly, the Moorish
+king, attended by fifty horsemen, surrendered the keys to the Catholic
+sovereigns on the banks of the Genil, passing on to the domain allotted
+him by the conquerors in the rocky Alpujarras. The story of his stopping
+to gaze for the last time on his former kingdom, and of the rebuke
+administered to him by his mother, is well known. We are not told
+whether his eye caught the gleam of the great silver cross hoisted over
+the Alhambra by Cardinal Mendoza by way of signal to the Spanish host
+that the occupation of Granada was completed and that the dominion of
+Islam in Spain was for ever at an end.
+
+It had endured seven hundred and eighty-one years--a period only sixty
+years short of that which has elapsed since the Norman Conquest of
+England. More remarkable still, the Sultanate of Granada had survived
+the virtual break-up of the Saracen empire by over two centuries. When
+we consider its limited area, its isolated position, the might and the
+inveterate hostility of the neighbouring states, and the attacks to
+which it was unceasingly subjected, we cannot but feel the liveliest
+admiration for the valour and sagacity of its rulers and the
+stout-heartedness of its people. Had not the Court been too often the
+theatre of contending factions, had not those factions turned their
+swords against each other, the Sultanate of Granada might have outworn
+Spain’s military and national vigour, and have endured to our own day as
+a western Turkey. For the spirit of Tarik, of Abdurrahman, and of
+Almansûr was not altogether dead, even in the brave but ill-starred
+sovereign to whom alone historians ascribe the downfall of the kingdom,
+and whom they, strangely enough, accuse of effeminacy and weakness. The
+Moors of Granada knew how to fight a losing fight; in gambler’s
+parlance, when they had lost the tricks, they struggled to win the
+honours. They proved themselves worthy of their ancestors; and the
+finest, as it was also the latest, monument of the Mohammedan dominion
+in Spain is Granada the noble and the memorable.
+
+
+
+
+THE ALHAMBRA
+
+
+The Alhambra, or Red Palace, the Acropolis of Granada, is the finest
+secular monument with which the Muslims have endowed Europe. It belongs
+to the last period of Spanish-Arabic art, when the seed of Mohammedan
+ideas and culture had long since taken deep root in the soil and
+produced a style which might more properly be called Andalusian than
+Moorish. If the Muslims left a deep impression upon Spanish thought and
+art, it must not be supposed that they altogether escaped the influence
+of their Christian neighbours. During the last two centuries of their
+occupation the rigid puritanism of their creed was greatly relaxed,
+especially as regarded art--always the reflection of the customs and
+spirit of a people. The wave of the Renaissance did not leave untouched
+the shrunken Moorish empire, and if Castilian kings did not hesitate to
+employ Muslim artisans in the construction of their cathedrals, the
+Sultans of Granada did not disdain the advice of Christian artists in
+the embellishment of their palaces. The Alhambra remains a thoroughly
+Mohammedan monument, but one which symbolises a phase of Mohammedan
+culture and institutions almost peculiar to one country and epoch.
+Nowhere else and never since has Islam reached such a pitch of
+refinement. The Alhambra stands as the high-water mark of its art and
+civilisation.
+
+There will never be produced a new Alhambra, any more than a new
+Parthenon or new Pyramids; for these great buildings were the
+expressions of ideas and aspirations peculiar to societies which have
+long ago perished. Thus, the Red Palace of Granada is not interesting
+merely as a Mohammedan edifice left isolated in the far west of Europe,
+but as the monument of a people and a civilisation long dead and gone. A
+sadness, too, attaches to it, proceeding from the memory of the violent
+extinction of that people with a mission unfulfilled--fraught, as it
+seems to have been, with so much of light and beauty to the Christian
+and the Muslim worlds.
+
+The Sierra Nevada thrusts forward a spur which overlooks Granada on the
+south-east, and is divided by two clefts or barrancos into three
+eminences. The easternmost of these is crowned by the Generalife, the
+westernmost by the ancient fortifications known as the Torres Bermejas
+or Vermilion Towers. The hill between the two--in shape aptly compared
+by Ford to a grand piano--is that on which the various buildings,
+collectively styled the Alhambra, are reared. Here there existed a
+settlement in remote Celtiberian days; and the later city of Illiberis
+or Elvira stood here, and perhaps extended to the Torres Bermejas. When
+the Moors came they erected a fortress--the Alcazaba--on the point of
+the Alhambra hill, overlooking the Vermilion Towers. To this they gave
+the name of _Alhamra_, “the red,” as Riaño thinks, to distinguish it
+from the Alcazaba in the Albaicin quarter, or perhaps from some
+confusion of the new building with the old. The builder, according to Al
+Khattíb, was one Sawar Alcaysi, who lived in the second half of the
+ninth century; though Contreras says it was known as the Tower of Ibn
+Jaffir, and Ford names Habus Ibn Makesen as the founder. At all events,
+the structure dated from the earliest period of the Arabic domination,
+and Al Ahmar found here, on taking possession of Granada, a small town
+girdled with walls and defended by a citadel.
+
+Al Khattíb refers to the Citadel of Granada in these terms: “The
+southern part of the city is commanded by the suburb of the Alhambra or
+Medina Alhamra, the court of the sultanate, crowning it with its
+turrets, its lofty towers, its strong bastions, its magnificent Alcazar,
+and other sumptuous edifices, which by their splendour ravish the eye
+and the soul. There is, too, such an abundance of waters that,
+overflowing in torrents from the tanks and reservoirs, they form on the
+declivity streams and cascades, whose sonorous murmurs are heard afar
+on. At the foot of the walls are spacious gardens, the domain of the
+Sultan, and leafy groves, through the dense greenery of which the white
+battlements gleam like stars. There is, in short, around the circuit of
+the walls, no spot that is not planted with gardens and orchards.” The
+scene has not greatly changed since the Arab wrote. Gurgling brooks
+still run down the slopes of the Alhambra Hill, and nightingales sing in
+the thick woods of elm.
+
+The Alcazaba, being the oldest part of the palace-fortress, should be
+studied first. It is entered by the Torre and Casa de las Armas, through
+a horseshoe arch in red brick, with fine azulejos or glazed tiles. To
+the left is the Torre de Homenage, with which war and time have not
+dealt too gently. It contains, it is interesting to note, a Roman votive
+altar, embedded by the Moorish builders in the masonry, and inscribed by
+“the grateful Valerius to his most indulgent wife, Cornelia.” At the
+opposite extremity of the Alcazaba is the Torre de la Vela, or Watch
+Tower. It is in two storeys, communicating by a dark and narrow
+staircase, with loopholes in the wall.[D] In this tower is hung a
+famous bell, to be heard, it is said, at Loja, thirty miles away. It is
+rung on the anniversary of the Conquest of Granada, on which day it is
+the custom, according to local superstition, for damsels, desirous of
+husbands, to strike it with all their strength. On the summit of this
+tower the cross was first planted by _el tercer rey_, Cardinal Mendoza.
+The view from the platform, of city and snow-clad Sierra, luxuriant
+Vega, and white-walled towns and villages, is as extensive as it is
+beautiful. At the foot of the Torre de la Vela extends the place of
+arms, defended by two towers, now styled de los Hidalgos and de la
+Polvora, and formerly known as the Paniagua and Cristóbal del
+Salto--names suggesting legends now forgotten.
+
+An ancient document at Simancas names among the towers connecting the
+Alcazaba with the rest of the fortress, the Torre del Adarguero, “the
+Tower in which dwelleth the servant of Doctor Ortiz,” the Torre de
+Alquiza, the Torre de Hontiveros (now the Torre de las Gallinas), and
+the Tower and Room of Machuca. Of these remains exist, but of another
+tower, referred to as the Torre de la Tahona, no trace remains.
+
+The Alcazaba, according to the most recent researches, was separated
+from the site of the palace by a ravine where, after the Conquest,
+cisterns were constructed by order of the Conde de Tendilla and over
+which the existing Plaza de los Algibes was formed. These works appear
+to have necessitated the demolition of a wall which ran across from the
+Torre de las Gallinas on the north to the beautiful Puerta del Vino on
+the south. This gateway is now quite isolated from the wall of
+circumvallation. Over the horseshoe arch is an inscription in stucco, of
+the usual Moorish character, invoking the Divine protection for the
+builder, Sultan Mohammed V. It appears to commemorate some striking
+victory. Over the arch again is a fine double window or ajimez. On the
+keystone is seen the key, so often figuring as a symbol in all parts of
+the Alhambra, with a G in Kufic characters--perhaps the initial letter
+of the city. The interior façade has a large horseshoe arch and the
+twin-windows above. The Puerta del Vino was probably the entrance to the
+courts and gardens of the palace.
+
+Having crossed the Plaza de los Algibes, we leave behind us the early
+Moorish works, and approach the buildings which owe their foundation to
+the Nasrite or Grenadine dynasty. The story which credits Al Ahmar
+(Mohammed I.) with the creation of the Red Palace in the middle of the
+thirteenth century appears to be well-founded, for when the Alhambra is
+referred to as existing in earlier times, it is undoubtedly the Alcazaba
+that is meant. To the same hands may be safely attributed the great
+outer wall of the Alhambra which girdles palace and fortress, following
+the inequalities of the hill’s contour. Al Ahmar has left his device,
+_Wa ha ghalib ila Allah_ (There is no conqueror but God), in many parts
+of the building. These words were uttered by him in mournful deprecation
+of the acclamations of his subjects on his return from assisting the
+Christians in the Conquest of Seville. During the two and a half
+centuries of the Nasrite rule, the palace underwent many radical
+transformations and renovations, so that it is difficult to distinguish
+between the works of the various sultans. Ford infers, rightly as it
+seems to us, from the frequent repetition of their names upon the walls,
+that Yusuf I. and Mohammed V. had the largest share in the embellishment
+and restoration of the edifice. Since the Reconquest many changes and
+additions have been made--notably the Palace of Charles V., to which
+detailed reference will be made later.
+
+The summit of the Alhambra hill was probably peopled in Al Ahmar’s time,
+and it continued to be so during the reigns of his successors. The
+population thus dwelling at the foot of the throne was mainly composed,
+in later times at least, of hangers-on at the Court, ex-favourites and
+discarded sultanas, ulemas and doctors of the law, soldiers of fortune,
+and ambassadors, permanent and extraordinary. Such powerful tribes as
+the Beni Serraj, which exercised so much influence in the last stages of
+Nasrite rule, would also have had quarters for their leaders here. The
+little town--which seems to have had no parallel before or
+since--extended from the eastern extremity of the hill to within as near
+the doors of the palace as the temper of the monarch for the time being
+may have permitted.
+
+The precise limits of the palace, even at the time of the Conquest of
+the Catholic sovereigns, have never been ascertained. Portions of it
+were undoubtedly demolished to make room for the palace of Charles V. On
+the other hand, it is recorded in the archives of the Alhambra that
+various private houses were acquired for the purpose of enlarging the
+older building. But making due allowance for demolitions, extensions,
+and restorations since the fifteenth century, we have before us in the
+Palace of the Alhambra a magnificent example of the last or third period
+of Hispano-Arabic architecture.
+
+On the general plan of the edifice, the remarks of Contreras are worth
+quoting _in extenso_: “We penetrate into every Arabic monument through
+an outlying tower, or between two towers, except in the dwelling-houses
+of the people, in which case the entrance is by a small, square opening,
+a portal useless among us, though seen with frequency in the ancient
+houses of Andalusia. A long, narrow hall cuts the axis perpendicularly,
+thus determining the distribution into two wings of the edifice. By the
+meeting of the two axes is found the entrance, before which we find
+those effects of perspective which are so fantastic in these buildings.
+Following the ingress we find a court with tanks and fountains, with
+light and graceful arcades. Behind the second gallery, following the
+same central axis, are oblong naves which cross each other at right
+angles to the extreme end of the building, where the cupolas or turrets
+of the innermost dwelling apartments rise majestically above the level
+of the edifice and are reflected in the waters of the basins. The halls
+of a house of this kind, according to its rank or grandeur, were
+arranged in little pavilions on the long sides of the courts, as various
+in their style of decoration as the tents of a Turkish camp, where the
+quarters of an Amir may be found beside those of the common soldiers.
+And if these rows of chambers are now found disposed according to the
+strict alignment of Mudejar eaves, it is an indication that the severe
+genius of the Christian conquerors has transformed them, not permitting
+those crests, cupolas, or steeples which disturb the symmetry of the
+decoration.
+
+“Outside this plan, absolutely classical, which we may compare to a
+cross with the transverse arm prolonged and cut at various distances by
+perpendicular arms parallel to each other, but of different length, the
+Spanish Arabs found no other easy method of building, so that, while
+diminishing or prolonging the arms of the axis as much as the
+dependencies of the largest palaces might require, they never departed
+from the system, wherever they might build.... This, then, is the true
+scheme of the Alhambra, and it is quite other than that conceived by the
+classicists of the eighteenth century, with its façades, angles, and
+squares.”
+
+It must, however, be admitted that order is much more conspicuous in the
+decoration than in the ground plan of the palace. All Moorish
+ornamentation is based on a strictly geometrical scheme, and every
+design may be resolved into a symmetrical arrangement of lines and
+curves at regular distances. The intersection of lines at various angles
+is the secret of the system. All these lines flow from a parent stem,
+and no figure or ornament is introduced at random. Moslem ornamentation
+abhors irregularity and rejects symbolism. The law of Islam which
+forbade the delineation of living objects was not, however, always
+observed in this palace of half-Europeanised Arabs.
+
+Simplicity and a love of the elementary characterise also the colouring
+of the decorations. On the stucco work only the primary colours were
+used: blue, red, and yellow. The secondary colours occur only in the
+dados of mosaic. The green groundwork of much of the ornamentation as it
+is to-day was formerly blue, time having changed the tint of the
+metallic pigment employed. The decoration of the surfaces seems to have
+been planned with strict regard to the colouring they were to receive.
+Both as regards decoration and colour, allowance must always be made for
+innovations since the Alhambra passed into Christian hands.
+
+“Let us look for a moment,” writes Mr. John Lomas, “at some points of
+detail--more especially of the ornamentation. Wherever the eye falls, it
+may rest upon some fine bit of arcading or peristyle, so delicate in the
+transparent tracery of its spandrils, in the rich work of its capitals,
+and its slenderness of pillar, that one marvels at first how such
+fairy-like construction could stand for even a single generation.
+‘Lovers’ tears’ they call this lace-work, and they tell one to stand
+just within the dim hall or vestibule, and get a vision of the blue sky
+that appears beyond as a little cloud of sapphires. But it is surely
+better--an insight into a piece of truer art--to stand outside the
+eastern kiosk of the Lion’s Court and looking through spandril,
+vestibule, and sala, catch the light glinting through the distant
+opposite windows. That is transparency of effect, indeed! One would like
+to meet with the architect who thought it out.
+
+“Some of the irregularities which obtain here seem almost incredible.
+What could be more satisfactory than this range of exquisite arcading,
+its slender palm-like stems, its gracefully stilted arches, and the
+fairy filigree-work of the spandrils? There seems to be not one single
+point that can offend the justest eye, and yet there are nearly a dozen
+different archings, differing in form, or height, or width; the cloister
+varies in breadth at every turn; the upper galleries are uneven; the
+doorways are the personification of self-will; the columns are placed,
+sometimes singly, sometimes grouped, and the numbers of them on the
+respective sides in no way correspond.... And, nevertheless, there is an
+all-prevailing symmetry--and harmony. The whole is a triumph of
+accurately judged effect.”
+
+In a foot-note Mr. Lomas adds: “As an instance of the careful way in
+which the architects of these olden days went to work, it may be
+mentioned that the exact relation between the irregular widths of
+cloistering on the long and short sides of the court is that of the
+squares upon the sides of a right-angled triangle. This obtaining of
+beautiful symmetry through irregularity is a strangely lost art.”
+
+We will now proceed to a more detailed description of the Palace of Al
+Ahmar.
+
+
+THE PATIO DE LA MEZQUITA AND ADJACENT BUILDINGS.
+
+Recent researches have shown that the ancient ingress to the Palace of
+the Alhambra was by a doorway leading into what is now the chapel. It is
+square in shape and has long been walled up. Above it may be deciphered
+the following inscription: “O place of the high kingdom and asylum of
+prodigious aspect! Thou hast achieved a great victory, and the merits of
+the work and of the artificer [are] the glory of the Imam Mohammed. The
+Shadow of the Most High [be] upon all!” This text is believed to refer
+to Mohammed III. (1302-1309).
+
+The chapel, which had been established by Ferdinand and Isabel adjacent
+to the Patio de los Leones, was transferred to this part of the Palace
+of Philip IV. in 1621. At that time a fine chimney-piece in the
+Renaissance style was converted into an altar. The apartment contains
+but few remains of its Moorish builders. Without, is the Patio de la
+Mezquita, with an exquisite façade, much disfigured by a modern
+gallery. The walls are adorned with the oft-recurring device, “God alone
+is Conqueror,” and with sentences extolling the sultans, in various
+sorts of arabesques. The inscription round the central window refers to
+Mohammed V. (1354-1391).
+
+The grand Mosque of the Alhambra was built in 1308 by Mohammed III., and
+was in good preservation until the occupation of the French, who,
+according to Gayangos, entirely destroyed it. An account of it has been
+left to us by Ibn-ul-Khattíb, the Wizir of Yusuf I.: “It is ornamented
+with mosaic work and tracery of the most beautiful and intricate
+patterns intermixed with silver flowers and graceful arches, supported
+by innumerable pillars of polished marble; indeed, what with the
+solidity of the structure which the Sultan inspected in person, the
+elegance of the design, and the beauty of the proportions, the building
+has not its like in this country, and I have frequently heard our best
+architects say that they have never seen or heard of a building which
+can be compared with it.” Little more remains of this superb temple than
+the small oratory entered through a door in the wall opposite the altar
+of the chapel. Here the _mihrab_ is still to be distinguished. Before
+it, Yusuf I., in the act of prayer, fell a victim to the poniard of an
+assassin in the year 1354.
+
+Adjacent to the _mihrab_ is the ruined tower of Puñales, which presents
+many architectural points of difference from the rest of the palace, and
+has features which may have suggested these characteristics of the
+Mudejar style seen in other parts of Andalusia. The principal window of
+the tower was furnished with a wooden balcony with lattices similar to
+those seen in Constantinople and Cairo.
+
+Retracing our steps across the Patio de la Mezquita, we reach the
+spacious Court of the Myrtles or of the Fish-pond (Patio de los
+Arrayanes, or de la Alberca). This is the court first entered by the
+visitor through the modern entrance. It is one of the most beautiful
+parts of the palace, and gives a foretaste of the glories that lie
+beyond. One feels immediately transported to the East. “The originality
+of the architecture [says Don Francisco Pi Margall], the airy galleries,
+its rich _alhamis_ or alcoves, the splendid apartments of which glimpses
+are obtained through its arches, the fountains and foliage, the
+reflection of its stuccoed walls in the waters of the pond, the murmur
+of the breezes that agitate the dense myrtles, the transparency of the
+sky, the silence that reigns all about--all oppress the soul at the same
+time, and leave us for some moments submerged in a sea of sensations
+which reveal to us little more than the harmony of the whole scene.”
+The court forms an oblong, bounded at the north and south by two
+galleries supported on eight columns of white marble, and to the east
+and west by walls pierced with doors and twin-windows covered with
+arabesques, but differing in degree of ornamentation. At each angle we
+find an _alhami_ or alcove, where the Moors were accustomed to laze away
+the day, extended on rich carpets and divans. The walls of these little
+places are encrusted with reliefs in stucco, their roofs are of the
+stalactite pattern. Along the middle of the court extends the _alberca_
+or fish-pond, its margins hidden by orange trees and myrtles. The clear
+water gushes up into two round basins at either end. To the north, the
+prospect is closed by the battlemented Tower of Comares, to the south by
+the walls of the Palace of Charles V. Through one of the entrances can
+be seen the fountain in the Patio de los Leones. The court is redolent
+of the languor, voluptuousness, and splendour of the East.
+
+Each arcade is composed of seven semicircular arches, the central one
+reaching up to the cornice, while the others, much lower, are closed
+with perforated woodwork or lattices. The roof of the southern gallery
+is of artesonado or troughed form, and bears seven small cupolas; over
+the central arch of the northern gallery is a single cupola painted with
+little gold stars on a blue ground.
+
+In this court there are numerous inscriptions, of which the following
+are the most important.
+
+“Go and tell true believers that Divine help and ready victory are
+reserved for them.”
+
+“I am like the nuptial array of a bride, endowed with every beauty and
+perfection.”
+
+“Truly Ibn Nasr is the sun, shining in splendour.”
+
+“May he continue in the noontide of his glory even unto the period of
+his decline.”
+
+In the Patio de la Alberca is an arch differing altogether from all
+others in the Palace. Only one surface is decorated, and that with a
+principal or guiding figure made out by colours. The ornaments
+approximate more closely than is usual in Moorish architecture to
+natural forms, and the arch has very much of a Persian character.
+
+This court is believed to have constituted the division between the male
+apartments, frequented by the general public, which we have already
+described, and the _Harem_, or private quarters, including the Patio de
+los Leones, &c.
+
+We pass through a beautiful arch decorated with tasteful floral designs,
+into the Sala de la Barca, or ante-room of the Hall of Ambassadors. This
+fine apartment, formerly radiant with colours, was seriously damaged in
+the fire of 1890. The ceiling of this hall, says Owen Jones, “is a
+wagon-headed dome of wood of the most elaborate patterns, receiving its
+support from pendentives of mathematical construction so curious that
+they may be rendered susceptible of combinations as various as the
+melodies which may be produced from the seven notes of the musical
+scale; attesting the wonderful power and effect obtained by the
+repetition of the most simple elements.”
+
+Beyond this hall rises the Tower of Comares, appearing to rest on the
+slenderest pillars and almost to be balanced in the air. The real
+supports have been purposely kept out of sight. The view from the summit
+of the massive battlemented tower is magnificent. From this platform,
+Washington Irving remarks, the proud monarchs of Granada and their
+queens have watched the approach of Christian armies, or gazed on the
+battles in the Vega. The walls of the tower are of surprising thickness.
+
+The interior, which is a square of 37 ft. by 75 ft. high up to the
+centre of the dome, is occupied by the Sala de Embajadores, the
+reception-room of the Sultans. It is the largest and perhaps the most
+imposing of the halls of the Alhambra. Lifting our eyes, we behold a
+glorious, airy dome, of artesonado work, with stars and painted angles.
+Owen Jones is of opinion that the present ceiling replaced an earlier
+one, which was supported by an arch of brick. The hall lacks its former
+pavement of marble, its central fountain, and the lattices that filled
+in its twin-windows. But it is still adorned by a beautiful mosaic dado
+(known as _sofeisfa_) reaching to the wooden cornice. Numerous are the
+Kufic and African inscriptions introduced into the decoration, the motto
+of Al Ahmar being frequently repeated. Opening on to the hall are nine
+alcoves, each with twin-windows, which have replaced balconies. The
+alcove opposite the entrance was the site of the Sultan’s throne, as the
+long poetical inscriptions testify. What gorgeous assemblies must have
+filled this saloon in bygone years--and what tumultuous scenes and
+fateful decisions must have been here enacted!
+
+
+THE PATIO DE LOS LEONES AND ADJACENT APARTMENTS.
+
+The Patio de los Leones (Court of the Lions) occupies, with the chambers
+opening on to it, the south-eastern quarter of the Palace. “There is no
+part of the edifice that gives us a more complete idea of its original
+beauty and magnificence than this,” says Washington Irving, “for none
+has suffered so little from the ravages of time. In the centre stands
+the fountain famous in song and story. The alabaster basins still shed
+their diamond drops; and the twelve lions, which support them, cast
+forth their crystal streams as in the days of Boabdil. The
+architecture, like that of all other parts of the palace, is
+characterised by elegance rather than grandeur; bespeaking a delicate
+and graceful taste, and a disposition to indolent enjoyment. When one
+looks upon the fairy tracery of the peristyles, and the apparently
+fragile fretwork of the walls, it is difficult to believe that so much
+has survived the wear and tear of centuries, the shocks of earthquakes,
+the violence of war, and the quiet, though no less baneful, pilferings
+of the tasteful traveller: it is almost sufficient to excuse the popular
+tradition, that the whole is protected by a magic charm.”
+
+The court is an oblong measuring 116 ft. by 66 ft. On each side is a
+peristyle or portico, and at either end a graceful pavilion with a fine
+dome. The supporting marble columns are 124 in number and 11 ft. high.
+They are placed irregularly, sometimes singly, sometimes in pairs--an
+arrangement which does nothing to mar the general impression of harmony.
+The arches exhibit a similar variety of curve, and spring from capitals
+decorated with rich foliage of various designs. The space above the
+arches is filled in with the usual arabesque work, and adorned with
+verses from the Koran. The ceilings of the porticos are enriched with
+delicate stucco work, and the walls are covered to a height of five feet
+with a dado of blue and yellow azulejos, bordered with blue and gold
+enamelled escutcheons bearing an Arabic motto on a bend.
+
+In the centre of the court is the fountain from which it derives its
+name. This is composed of two basins (in Moorish times there was but
+one) supported by twelve marble lions. These Arabian sculptures, remarks
+Ford, are rudely but heraldically carved, and closely resemble those to
+be seen supporting Norman-Saracenic tombs in Apulia and Calabria. “Their
+faces are barbecued, and their manes cut like the scales of a griffin,
+and their legs like bedposts, while a water pipe stuck in their mouths
+does not add to their dignity.” Indeed, the consolatory reminder
+contained in the tremendously long inscription round the basin, that
+there is nothing to be feared from these creatures, for “life is wanting
+to enable them to show their fury,” seems ludicrously unnecessary. As
+specimens of Arabian sculpture they are in all probability unique; the
+builders of the Alhambra were evidently not over-strict in the
+observance of their religion. The inscription referred to has been
+versified by Valera, and runs into forty-four lines of Castilian.
+
+On the south side of the Patio de los Leones is the Sala de los
+Abencerrages (Hall of the Beni Serraj), so called because it is believed
+to be the scene of the massacre of thirty-six chiefs of that tribe by
+order of Boabdil. A reddish vein in the marble flooring is pointed out
+as the victims’ indelible bloodstains. The story has only the slenderest
+historical foundation, and was first circulated by a writer of the name
+of Ginés Perez de Hita, who lived in the sixteenth century. According to
+some, the usurper Aben Osmin (1446) was beheaded here by order of the
+prince Muley Hassan; but others, writing of that confused period of
+Granadine history, say the tyrant fled to the mountains. This chamber,
+perhaps the most elegant in the Alhambra, does not seem a likely place
+for deeds of blood. It is entered through a wonderfully graceful arch,
+growing out of, rather than springing from, marble shafts. The chamber
+is a square, prolonged on the east and west by two _alhamis_ or alcoves,
+which are entered through exquisitely-curved arches. But the glory of
+the Sala de los Abencerrages is its roof--its plan like that of a star,
+with pendants or stalactites, and sixteen windows in its vaultings.
+
+“Its thousand stalactites,” writes Don Francisco Pi Margall, “its
+colours, its innumerable archings, its crowns of stars, its complicated
+depressions and projections, its cones, its polygons, its accidents of
+light, the effects of chiaroscuro, present it at first sight as
+something confused, indefinable, indecipherable, resplendent, and vague,
+like that broad band, the Milky Way, which crosses the pavilion of the
+heavens. Yet in reality it is most regular, although irregular in
+appearance; the compass of the geometrician had more to do in planning
+it than the genius of the artist; but its lines are so many, and their
+combinations change so rapidly, that the scheme is only to be
+comprehended after a long and patient study.”
+
+The azulejos which face the walls date from the time of Charles V. In
+the centre of the hall is the marble basin beside which the Beni Serraj
+are fabled to have been slain.
+
+Opposite this hall, on the north side of the Lions’ Court, is the Sala
+de las Dos Hermanas (or, of the Two Sisters), so called after two twin
+slabs of marble let into the pavement. An exquisite arch gives
+admittance from the court to a narrow corridor, which communicates on
+the right with the upper storey, and with the mirador or latticed
+balcony, from which the ladies of the Harem would gaze into the _patio_
+below. The hall is as rich, as graceful, as suggestive of Eastern luxury
+and repose as that which we have just left. In each wall is an arched
+opening, two being entrances, the others admitting to alcoves somewhat
+more shut off than in other parts of the Alhambra. Above each arch is a
+window corresponding to the apartments in the upper storey, now
+vanished. The roof exhibits the same marvellous combinations of
+geometrical forms, the same confused symmetry, as are seen in the Sala
+de los Abencerrages. Indeed, this hall is generally (but not
+universally) considered the more admirable of the two. The surface of
+the walls is hidden beneath costly reliefs of stucco and azulejos.
+Inscriptions on the sixteen medallions and cartouches have been
+deciphered into a long poem by Ibn Zamrek, composed in honour of
+Mohammed V., and translated into eleven verses of Spanish by Valera. One
+verse exhorts us “to look attentively at my elegance and reap the
+benefit of a commentary on decoration; here are columns ornamented with
+every perfection, the beauty of which has become proverbial.”
+
+In this magnificent apartment formerly stood the famous vase (_el
+jarron_), which tradition says was discovered in one of the subterranean
+chambers of the Palace, full of gold. It is now in the little Alhambra
+Museum. The vase, which dates from the fourteenth century, and is
+beautifully enamelled in white, blue, and gold, is described by Baron
+Davillier in his work on Spanish Pottery.
+
+Beyond the Hall of the Two Sisters is a long, narrow apartment called
+the Sala de los Ajimeces (Hall of the Twin Windows). Its ceiling and
+decorations are little inferior to those of the larger hall. On the
+north side opens the exquisite Mirador de Lindaraja, or
+prospect-chamber, affording a delightful view of the garden beyond. In
+wealth of detail and ornamentation, this little bower of fifteen by ten
+feet surpasses all other parts of the Palace. In Moorish days the
+Sultanas could look from behind the lattices of the three windows across
+the town and the plain of the Vega. When their eyes wearied of the
+prospect they could scan the numerous poetical effusions traced upon the
+walls.
+
+Returning to the Patio de los Leones, we enter, at its eastern
+extremity, the Sala del Tribunal, or de la Justicia. This hall consists
+of seven chambers opening on to a common vestibule. The four small rooms
+are square, and are separated by three larger oblong apartments. The
+same gorgeous colouring, the same profusion of geometrical
+ornamentation, here as elsewhere in the Alhambra! The arch over the
+central small chamber, or divan, is perhaps the finest in the whole
+Palace. But what renders this hall the most remarkable in the edifice is
+that it contains what are probably the only existing specimens of
+mediæval Muslim figure painting. The ceiling of the central alcove or
+_alhami_ is adorned by a painting representing ten personages, who were
+formerly supposed to be judges, whence the name given to the hall. They
+were intended, more probably, to represent the first ten sultans of the
+Nasrite dynasty. The painting, like those in the other alcoves, is done
+in bright colours (gold, green, red, &c.) on leather prepared with
+gypsum. The designs appear to have been sketched in brown. The paintings
+in the other _alhamis_ are of an even more interesting character. In the
+first, a castle with square towers and battlements is seen; outside it
+is a lion led in chains by a maiden, whose hands are rudely grasped by a
+savage with shaggy hair and beard. A rescuer hurries to her assistance
+in the person of a Christian knight, armed _cap-à-pie_. On the other
+side of the picture, the same knight is shown attacked by a Moorish
+cavalier, who plunges a lance into his breast. The Moor is evidently out
+hunting, for beneath the combatants’ horses his dogs are chasing the
+wild boar and fox. From the towers of the castle two fair ladies
+observe, with evident pleasure, the Christian’s overthrow. In another
+part of the picture both knights are shown, following the chase; and a
+page is seen, leaning against a tree, with sword and shield, presumably
+awaiting his master’s return.
+
+The second painting is entirely devoted to hunting scenes. Moors are
+seen chasing the wild boar, while the Christians occupy themselves with
+bears and lions. The huntsmen are also seen returning and offering the
+spoils of the chase to their ladies. The Moor greets his sultana with a
+benign and condescending air; the Christian warrior kneels to the lady
+and offers his prize.
+
+The most competent critics have now arrived at the conclusion that these
+paintings are of the fourteenth century, and therefore executed under
+the Muslim sovereigns, in defiance of the precepts of the Koran. Whether
+they were the work of a Mohammedan it is not so easy to say. Gayangos
+has pointed out remarkable similarities between these paintings and
+those in the Campo Santo at Pisa; and on the whole it is probable that
+they were executed by an Italian artist, whom the Muslims may not have
+scrupled to employ to do a thing for them unlawful. A parallel instance
+of casuistry is that of London Jews, who on certain feasts employ
+Christians to perform forbidden menial offices. It should also be said
+that in the opinion of some modern Muslim doctors the prohibition of
+sculpture and painting is not to be taken as absolute.
+
+In the Sala de la Justicia was found a basin for ablutions, now in the
+Museum, on which are interesting reliefs of lions, deer, and eagles.
+According to the inscription, this was designed in 1305 for the service
+of the mosque, a fact which seems to support the view of the authorities
+just mentioned.
+
+It was in this hall that Ferdinand and Isabel caused Mass to be
+celebrated after the Reconquest, and here that the cross was set up by
+Cardinal Mendoza. The devices of the Catholic sovereigns--the Yoke and
+Sheaf of Arrows--have been introduced into the decoration of the
+alcoves.
+
+The ruinous tower and apartment to the south of the Hall of Justice,
+called the Rauda, appears to have been the mausoleum of the Sultans. The
+niches in which the _turbehs_ were placed may still be distinguished,
+and the long, narrow trough used for the purification of the corpse. In
+the Museum may be seen three tablets with the epitaphs of the Sultans
+Yusuf III. and Mohammed II. and of a prince Abu-l-Hejaj, probably the
+former’s son.
+
+Of the few remaining apartments of the Alhambra, the most interesting
+perhaps is the Tocador, or Queen’s Dressing-room, at the side of the
+Patio de Lindaraja, opposite the Mirador de Lindaraja. This was the
+apartment occupied by Washington Irving, according to his own showing:
+“On taking up my abode in the Alhambra, one end of a suite of empty
+chambers of modern architecture, intended for the residence of the
+governor, was fitted up for my reception. It was in front of the
+Palace.... I was dissatisfied with being lodged in a modern
+apartment.... I found, in a remote gallery, a door communicating
+apparently with an extensive apartment locked against the public.... I
+procured the key, however, without difficulty; the door opened to a
+range of vacant chambers of European architecture, though built over a
+Moorish arcade.... This fanciful suite of rooms terminated in an open
+gallery with balustrades, which ran at right angles with a side of the
+garden.... I found that it was an apartment fitted up at the time when
+Philip V. and the beautiful Elizabeth of Parma were expected at the
+Alhambra, and was destined for the Queen and the ladies of her train.
+One of the loftiest chambers had been her sleeping-room, and a narrow
+staircase leading from it ... opened on to the delightful belvedere,
+originally a mirador of the Moorish sultanas, which still retains the
+name of the _tocador_. I determined at once to take up my quarters in
+this apartment. My determination occasioned great surprise, but I was
+not diverted from my humour.”
+
+This exquisite apartment is adorned by four sixteenth-century paintings,
+representing the legend of Phaëton. On the artesonado ceiling, painted
+and gilded, may be read the invocation: “The help and protection of God
+and a glorious victory for our Lord, Abu-l-Hejaj, Amir of the Muslims!”
+Round the boudoir runs a gallery of nine arches on Arabic pillars,
+painted and decorated with the figures of Faith, Hope, and Charity,
+Justice, Strength, and Temperance, Jupiter, Neptune, Plenty, and the
+Vestals’ Fire. These paintings were the work of two Italians, Giulio
+Aquila and Sandro Mainere, both pupils of Raphael.
+
+The charming little garden or patio of Lindaraja or Daraja, which
+intervenes between this regal boudoir and the Moorish _mirador_, appears
+to have been originally called _Jin Dar Aja_, or garden of the palace of
+Ayesha. The old Moorish garden that used to extend as far as the Tower
+of Comares is now confined by the walls of the Sala de las Ajimeces and
+three arcades of modern construction. The fountain in the centre dates
+from the seventeenth century. An enchanting spot is this, with its
+cypress, orange, and citron-trees rising from trim hedges of myrtle and
+rose.
+
+Between this garden and the court of the Alberca lie the baths--those
+indispensable adjuncts to the Muslim household--most skilfully and
+artistically restored by Contreras. The plan is that usually followed
+throughout the East. Passing through the _Sala de las Cámas_ or Unrobing
+Room, where, from a high gallery the songs of the odalisques were wafted
+down to the sultan reclining in one of the alcoves, we enter the Sala de
+Baños, with its white marble bath and pavement of glazed tiles. This
+corresponds with the apartment called by the Arabs, the hararah, or
+vapour-bath, and described in Lane’s “Manners and Customs of the Modern
+Egyptians”; and it was under the graceful arcades which support the
+dome that the bathers underwent the kneading and rubbing processes
+lately introduced among us. The chamber is lighted from above through
+star-shaped apertures. The inscriptions refer to the felicity awaiting
+men in this palace of delight. The bathing-apartments consist of three
+halls and two smaller chambers, vulgarly called the Infantas’ Baths.
+
+
+THE TOWERS AND GATES OF THE ALHAMBRA
+
+“The wall of the Nasrites,” writes Señor Fernández Jiménez, “of which
+scarcely a patch remains unimpaired, measured about 1400 metres from one
+extremity to the other, and was defended by twenty-six towers, counting
+as one the two buttresses that defended the gate of the Siete Suelos. To
+this number should properly be added the Torre de las Armas, which is
+pierced by a gate common to the Alcazaba and Alhambra, and is therefore
+also a Nasrite work. The citadel was fortified, moreover, by five
+bastions, corresponding to as many gates, and by various external
+defences, of which traces remain in the modern alamedas. The thickness
+of the towers varies according to their situation and purpose, the
+distance between them ranging from 34 to 64 metres approximately.” At
+the present day we can count only fifteen towers, the names of which
+are: las Aguas, los Siete Suelos, las Cabezas, la Justicia, la Polvora,
+los Hidalgos, la Vela, las Armas, las Gallinas, los Puñales, las Damas,
+los Picos, del Candil, de la Cautiva, and las Infantas.
+
+The Puerta de la Justicia is the principal entrance to the Alhambra. It
+was built, as the inscription over the arch relates, by the Sultan Yusuf
+Abu-l-Hejaj, in 1348. Here justice was administered in Moorish days
+after the old patriarchal fashion. Above the arch is carved an open
+hand, the signification of which is a matter of controversy. The most
+probable explanation is that it is a religious symbol, the five fingers
+typifying Faith in God and the Prophet, and the commandments, to pray,
+to fast, to give alms, and to make the pilgrimage to Mecca. The inner
+arch is beautifully decorated with arabesques, and with the symbol of
+the key. The entrance is continued through another gate, with winding
+passages contrived so as to embarrass an enemy. The arch which gives
+egress from the tower shows some fine enamelling and festoons.
+
+Just outside this gate is the Pilar de Carlos V., a fountain in the
+Greco-Roman style, erected by the Alcaide Mendoza in 1545. It is
+ornamented with the Imperial arms, and sculptured heads of the river
+gods, Genil, Darro, and Beiro.
+
+The double Torre de los Siete Suelos flanks a gateway, now walled up,
+which was formerly the principal entrance to the fortress. Through it
+the unfortunate Boabdil is said to have passed on his way to exile and
+obscurity. The tower is so called because it is believed to descend
+seven storeys underground. Four subterranean chambers have been
+investigated. Here tradition places the site of much buried treasure,
+and fables are told of phantom guards and enchanted sentries.
+
+At the south-eastern angle of the _enceinte_ is the ruinous Torre del
+Agua, which derives its name from the aqueduct that at this point spans
+the ravine. On the north-eastern side we reach the Torre de las
+Infantas, the interior of which is a perfect model of the smaller
+Oriental dwelling-house. Through a small vestibule we reach a covered-in
+patio with a fountain in the centre, and alcoves opening out on three
+sides. The ornamentation is graceful and original. The tower is one of
+the most interesting parts of the fortress. Somewhat less complete and
+regular in its plan, but even more elegantly decorated with
+rose-coloured tiles, is the adjoining Torre de la Cautiva (Captive’s
+Tower). Here the inscriptions resound the praises of Abu-l-Hejaj and
+refer to the _Lion_ residing within these walls--a very different
+occupant from a captive!
+
+The Torre de los Picos seems to have been so styled from the peaked
+battlements which crown it. It evidently underwent extensive remodelling
+about the time of the Spanish Reconquest, but some relics of the Nasrite
+rule remain in the shape of some beautifully moulded twin windows.
+
+The Torre de Ismaïl, or de las Damas (Ladies’ Tower), was given by
+Mohammed V. to his son Ismaïl, and has a richly decorated belvedere and
+a hall very tastefully ornamented. The ruined tower of Puñales has some
+curious stucco decorations, differing from those found in other parts of
+the palace.
+
+Between the Torres de los Picos and de las Damas is a little _mihrab_ or
+oratory built on the wall. At the Reconquest it was appropriated to the
+private use of one Astasio de Bracamonte. Though it has undergone
+deplorable “restorations,” the _kiblah_ or easterly niche and other
+indications of the Muslim rite can still be made out. Strangely enough,
+the portal is guarded by two Moorish lions brought from the old
+Mint--the injunctions of the Mohammedan religion being thus ignored in
+its own temple!
+
+The parish church of Santa Maria, erected in 1581, occupies the site of
+the Mosque of which Al Khattíb appears to speak, writing of the deeds
+of Mohammed III. (1302-1309). “And among his great actions, the greatest
+and most remarkable was the construction of the great Mosque or Aljama
+of the Alhambra, with all that it contained of elegance and decoration,
+mosaics, and cements; as well as lamps of pure silver and other great
+marvels. In front of the Mosque were the baths, erected with the money
+levied from the Christians in his dominions. With the receipts from
+these baths the Mosque and its ministers were maintained.” The modern
+church is of brick, and contains nothing of note, except a Visigothic
+inscription, referring to the construction of three temples, dedicated
+to St. Stephen, St. John, and St. Vincent, in the years 594 and 607.
+
+
+THE PALACE OF CHARLES V.
+
+The forlorn, roofless palace in the classical style, which seems so out
+of place amid these Oriental buildings, was begun by order of the
+Emperor Charles V. in 1538. It was never completed. The Flemish Cæsar’s
+intention seems to have been to establish a permanent residence here,
+whence he could contemplate the beauties of the Moorish palace. The
+building is a quadrangle of four façades, each seventeen metres high.
+The lower storey is of the Tuscan order, the upper, Ionic. Some of the
+marble portals are very fine. In the decoration appear allusions to the
+campaigns, on sea and land, directed by the Emperor, his motto, _Plus
+oultre_, and the emblem of the Golden Fleece.
+
+The interior of the palace is occupied by an imposing circular court,
+with a gallery supported by thirty-two columns. The staircase is loftily
+designed, and altogether the palace, if it had been completed and built
+almost anywhere else, would have been a dignified memorial of Charles’s
+reign.
+
+
+
+
+THE GENERALIFE
+
+
+Across an ivy-draped ravine--a perfect study in green and red--the
+Palace of Recreations, the Generalife, overlooks the rugged walls of the
+Alhambra. The name is believed to have been derived from Jennatu-l’arif,
+“the garden of the architect.” The palace appears to have been built by
+a Moor called Omar, from whom it was purchased by the Sultan
+Abu-l-Walid. At the Reconquest it became the property of a renegade
+prince, Sidi Yahya, who adopted the name of Don Pedro de Granada, and
+whose descendants, the family of Campotejar, are to this day the actual
+owners.
+
+The Generalife cannot be regarded as an important monument of Moorish
+architecture. Through the central court, which measures 48.70 by 12.80
+metres, runs the conduit which irrigates the whole estate, and connects
+with the Acequia (or canal) de la Alhambra. The arcaded southern façade
+and the spacious hall adjoining have been altered in order to make a
+large vestibule. The arcade resembles that of the Court of the
+Fish-pond, and exhibits a poetical inscription declaring that
+Abu-l-Walid restored the palace in the year 1319.
+
+The halls of the Generalife are of little interest in themselves, and
+contain several portraits of doubtful authenticity. Those of Ferdinand
+and Isabel, of Juana la Loca and her husband, and of the fourth wife of
+Philip II., are the most important. Among the portraits of the Granada
+family is one supposed to be that of Ben Hud Al Mutawakil, the rival of
+Al Ahmar, and ancestor of Sidi Yahya. This seems to be the portrait
+which English travellers persist in mistaking for that of Boabdil.
+
+But if the palace is in no way remarkable, the gardens are a veritable
+bower of beauty and delight. Water bubbles up everywhere and moistens
+the roots of myrtles, cedars, and tall cypresses, the finest trees in
+all Spain. The legend of the Abencerrage discovered in dalliance with a
+Sultana, beneath one of these cypresses, is absolutely destitute of any
+sort of foundation. The nature of the spot--so eminently fitted for love
+and lovers’ trysts--may have suggested the story. But the garden is
+ill-kept, and many of the magnificent trees have been cut down.
+
+       *       *       *       *       *
+
+In the city of Granada itself the memorials of the Moorish domination
+are scanty and fast disappearing. In the Zacatin, which was in old
+times the chief bazaar, is a building formerly styled the Casa del Gallo
+de Viento (Weathercock House), and now known by the commonplace
+designation of Casa del Carbon (Charcoal House), owing to its having
+been appropriated to the storage of that useful product. Tradition avers
+that the palace (for such the house at one time was) was built by Badis
+Ibn Habus, a governor of Granada, who ruled about 1070 A.D., by whose
+direction a vane was made in the shape of a warrior, mounted and armed
+with shield and spear. In later years the building served as a corn
+exchange. The only notable features are the entrance with its horseshoe
+arch and twin-windows, and vestibule with dome and alcoves. Adjacent to
+the Casa del Carbon is the house of the Duque de Abrantes. Beneath it is
+said to be a subterranean passage communicating with the
+Alhambra--blocked up, oddly enough, by the present owner of the site,
+without any exploration or examination.
+
+Entered from the Carrera de Darro is the once handsome Moorish bath
+house, now in the last stages of dilapidation and neglect. It is
+believed to date from the earliest period of Mohammedan rule. The arches
+are of the old horseshoe type, and the columns and capitals of a
+primitive order. An inscription beginning, “In the Name of God, the
+Merciful, the Compassionate ...” may still be made out.
+
+The bath itself, the various chambers of repose and disrobing, the usual
+alhamies, can also be traced.
+
+The old Moorish mint was demolished in 1643, and the famous Gate of
+Bivarrambla can no longer be described in any sense as a Mohammedan
+work.
+
+The effacement of the Moorish character of Granada, as compared with its
+survival in Seville, serves to show how much more intense the religious
+and racial bias became in Spain during the two hundred and odd years
+that elapsed between the conquests of the two cities. The spirit in
+which St. Ferdinand, Alfonso el Sabio, and Pedro I. approached the works
+of their Mohammedan foes and subjects presented a very favourable
+contrast to that manifested by the Catholic sovereigns, Charles V. and
+Philip II.
+
+
+
+
+CATHOLIC GRANADA
+
+
+Almost the first act performed by a Spanish king on his entry into a
+conquered Mohammedan city was to convert the chief mosque (aljama) into
+a Christian church. This was also done at Granada, but the chapel of the
+Alhambra remained for some time the cathedral of the new See. The mosque
+in the city, afterwards elevated to that rank, is described by the Abbé
+Bertaut of Rouen (quoted by Valladar), writing in 1669, as “square, or
+rather longer than wide, without vaults, and the roof covered with
+tiles, which for the most part were not even joined. The whole was
+supported by a number of small stone columns, harmoniously arranged.”
+Jorquera says the mosque was composed of five low naves. Whether or not
+it was originally a Visigothic church, as some writers pretend, the
+temple probably dated from the earliest centuries of the Muslim
+occupation, and the tower which contained the mihrab was long famous as
+the Torre Turpiana.
+
+The building, after serving the purposes of the Catholic rite for two
+centuries, disappeared between 1705 and 1759 to make room for the
+present sacristia (sacristy). As a cathedral, it had been superseded by
+the adjoining and existing edifice, dedicated on August 17, 1561.
+
+Older by about a quarter of a century than the foundations of the
+cathedral is the Royal Chapel (Capilla Real), which is the most striking
+and interesting memorial of the Conquest of Granada. It was begun in
+1505 as a mausoleum for the Catholic sovereigns, Ferdinand and Isabella,
+under the direction of the famous Enrique Egas, and completed in the
+year 1517--a year after the king’s death and thirteen years after the
+queen’s. The chapel is shaped like a Latin cross, and is one of the
+latest specimens of the Spanish Gothic style. It is a comparatively
+modest and simple building, contrasting strongly with the ornate and
+elaborate structures of the succeeding age. The decoration of the
+interior consists almost entirely in a frieze bearing a long inscription
+in gilt letters which reads: “This chapel was ordered to be built by the
+most Catholic Don Ferdinand and Doña Isabella,” &c. &c. There is a
+suggestion of Gothic influence in the magnificent railing or grille,
+partly of iron, partly gilt, which divides the nave from the transept,
+and was made in 1522 by Maestre Bartolome. The kneeling figures of the
+Catholic sovereigns are seen on either side of the high altar. These,
+says Ford, “are very remarkable, being exact representations of their
+faces, forms, and costumes: behind Ferdinand is the victorious banner of
+Castile, while the absorbing policy for which both lived and died--the
+conquest of the Moor and the conversion of the infidel--are embodied
+beneath them in singular painted carvings; these have been attributed to
+Felipe Vigarny, and are certainly of the highest antiquarian interest.
+In that which illustrates the surrender of the Alhambra, Isabel is
+represented riding on a white palfrey between Ferdinand and the great
+Cardinal Mendoza, who sits on his trapped mule, like Wolsey. He alone
+wears gloves; his pinched aquiline face contrasts with the chubbiness of
+the king and queen. He opens his hand to receive the key, which the
+dismounted Boabdil presents, holding it by the wards. Behind are ladies,
+knights, and halberdiers, while captives come out of the gates in pairs.
+Few things of the kind in Spain are more interesting. The other
+basso-relievo records the ‘Conversion of the Infidel’; in it the
+reluctant flock is represented as undergoing the ceremony of wholesale
+baptism, the principal actors being shorn monks. The mufflers and
+leg-wrappers of the women--the Roman _fasciæ_--are precisely those still
+worn at Tetuan by their descendants.”
+
+These reliefs are unquestionably more vigorous and artistic, and also
+more in harmony with the structure generally, than the gorgeous
+Renaissance cenotaphs of Ferdinand and Isabella--most probably the work
+of the Spanish sculptor, Bartolome Ordoñez. The two great sovereigns are
+shown lying side by side, the faces expressing infinite dignity and
+repose. At each corner of the sepulchre is seated one of the four
+Doctors of the Church, below whom is a Sphinx. Medallions on two of the
+four sides represent respectively the Baptism and Resurrection of Jesus,
+and St. George and St. James. Beautifully done are the figures of the
+Twelve Apostles, the escutcheons, and, in fact, all the details of this
+grandiose but unimpressive monument.
+
+The adjacent sepulchre of Ferdinand and Isabella’s daughter, the unhappy
+Queen Juana, and of her husband, Philip I., the Handsome, is inferior in
+design and execution. The heads of the recumbent figures are not
+faithful portraits. The reliefs represent the Nativity, the Adoration of
+the Magi, the Agony in the Garden, and the Entombment. In the niches are
+figures of the Cardinal Virtues (not conspicuous in Philip during life),
+and at the corners the statues of Saints Michael, George, Andrew, and
+John the Divine. Very beautiful are the figures of children, and much of
+the heraldic decoration. The whole is in the most florid style of the
+Renaissance, and was carved at Genoa by order of Juana’s son, Charles
+V.
+
+Very different are the actual resting-places of the sovereigns so
+gorgeously commemorated in stone above. Descending to a narrow vault
+beneath the cenotaphs, we find five rude coffins, with iron bands.
+Herein repose the remains of Ferdinand and Isabella, of Juana and
+Philip, and of their son, Prince Juan. Ferdinand’s coffin may be
+identified by the letter F. “Here,” writes Pi Margall, “lie together in
+the dim light fathers and sons, monarchs of three dynasties united in
+less than a century for the greater glory of the fatherland; here lie
+the last princes of the Mediæval Age, and those who at its close
+inaugurated the Modern Era. Here they lie--heroes and fathers of
+heroes--kings who never retreated before the face of danger, and queens
+whose lives were consumed in the fire of profound love; fortunate ones
+who, returning from the battle, found rest and refreshment in the arms
+of their beloved; and unhappy souls who drained the cup of suffering,
+without finding in the dregs even that lethargy which the excess of
+grief procures for some. Who can enter this murky precinct without
+feeling his heart swayed by contrary emotions--without inclining with
+reverence before the lead which covers the men who rescued the nations
+from the anarchy of feudalism? While a tear may drop on the bier of that
+great princess [Isabella], who can restrain his pity for that unhappy
+queen [Juana] who, intoxicated with love, passed the night waiting for
+the dawn to break that she might go forth, alone, to the ends of the
+world, in search of her adored husband, and would not leave his coffin
+till the tomb had closed upon it?”
+
+We leave these great and unhappy ones of a bygone age, passing away to
+nothingness in their last dark palace, and ascend to the chapel. There
+is not much more to see. In the sacristy are preserved the crown and
+sceptre of the Catholic queen, the sword of Ferdinand, and some rich
+Gothic vestments. Over an altar on the south side is a _Descent from the
+Cross_, of which Ford speaks highly. The Chapel Royal communicates with
+the cathedral by a noble portal in the Late Gothic style. The pillars on
+each side are adorned by the statues of kings-at-arms. Above the
+entrance an eagle upholds the Arms of Spain. Heraldic devices, religious
+emblems, and reliefs of saints and cherubim are mingled in the
+decoration, which is beautiful and not over-elaborate.
+
+The Chapel Royal, though architecturally forming part of the cathedral
+building, has an entirely independent ecclesiastical organisation of its
+own, with its own chapter and clergy. Amusing instances are recorded of
+the bad blood existing between the cathedral canons and the royal
+chaplains. This enmity (says Valladar) was carried so far that once,
+when the Archbishop Carrillo de Alderete wished to visit the chapel,
+attended by his canons, the chaplains refused to admit them. The
+archbishop accordingly caused the disobliging priests to be arrested,
+whereupon a long lawsuit ensued. The chaplains had the right of passage
+across the cathedral transept to the Puerta del Perdon, which is the
+official or state entrance to the royal mausoleum--a privilege which
+seems to have galled the canons to the quick. Strange that such
+ludicrous bickerings should have arisen out of a foundation which
+commemorates the grandest and most epoch-making events in the national
+history. Truly from the sublime to the ridiculous there is but one step.
+
+
+THE CATHEDRAL
+
+The Cathedral of Granada was built adjoining and connecting with the
+Chapel Royal and sacristy or old mosque, between the years 1523 and
+1561. Charles V. preferred the Gothic style, but at last consented to
+the adoption of the designs of Diego de Siloe. The church is described
+by Ford as one of the finest examples of the Græco-Roman style, but the
+plan is distinctly Gothic, nor can the edifice be said to deserve the
+description, “the most magnificent temple in Europe after the Vatican.”
+It is impressive in its severity and vastness, and may be described as
+dignified rather than beautiful.
+
+The façade, said to have been designed by Alonso Cano, is flanked by
+towers (one unfinished) and divided by four huge stone columns which
+support a cornice. On this rest four pillars, sustaining three deep,
+gloomy vaultings. At the foot of these pillars, on the cornice, are
+statues of the Apostles. The principal door is adorned with a high
+relief of the Incarnation by Risueño, the side-doors with reliefs of the
+Annunciation and Assumption. The tower on the left rises seventy-five
+metres above the level of the present floor; its three stages are in the
+three styles of Grecian architecture respectively.
+
+The walls of the Cathedral are, to a great extent, hidden, as is so
+often the case on the Continent, by adjoining buildings. The Puerta del
+Perdon, which, as we have said, officially belongs to the Chapel Royal,
+is Diego de Siloe’s masterpiece, and is elaborately sculptured. Over the
+arch two allegorical figures uphold a tablet on which is inscribed a
+dedication to the Catholic monarchs. The great flanking columns of the
+portal are decorated with huge escutcheons. The introduction of heraldic
+symbols into religious architecture is nowhere more conspicuous than at
+Granada.
+
+The interior of the church, which is paved with black and white marble,
+is composed of five naves with a cross-vaulting in the Gothic style,
+supported by five piers, each of which is composed of four Corinthian
+pillars. Above the high altar at the east end of the structure rises a
+noble dome, 220 ft. high, resting on eight pillars, and opening with a
+bold main arch, 190 ft. high. The expansion of the Capilla Mayor
+(principal chapel) at this point into the segment of a circle is a
+clever feat of architecture. Lafuente says, “The daring of the main arch
+is admirable, the way it is contrived creating a wonderful effect:
+looking at it from the elliptical arches it appears to be extended and
+on the point of falling away through having sunk below its level.”
+
+The Capilla Mayor is a handsome, profusely ornamented fabric, supported
+on twenty-two Corinthian columns in two courses. Between the lower
+columns are the elliptical arches referred to, and on the upper course
+are the seven beautiful paintings of scenes from the Blessed Virgin’s
+life, by Alonso Cano. Between the courses are interesting paintings by
+Juan de Sevilla and Bocanegra. Much of the statuary is good, and the
+Flemish stained glass in the fourteen windows is beautifully rich in
+colour and well executed. The high altar itself, the work of José de
+Bada, is in a depraved style; but its badness is redeemed by the two
+kneeling statues of Ferdinand and Isabella on either side by Mena and
+Madrano, and by the bold, great heads of Adam and Eve, above the
+pulpits, carved and painted by Alonso Cano.
+
+In the centre of the middle nave, separated from the Capilla Mayor by
+the transept, is the choir, in that debased Churrigueresque style of
+which every one speaks ill. The only things notable within it are the
+fine organs, and the crucifix by Pablo de Rojas. Beneath the choir is
+entombed Alonso Cano (died 1667), one of the greatest of Andalusian
+painters, and a minor canon of the Cathedral.
+
+One of his most characteristic pictures--the _Virgén de la Soledad_--is
+to be seen over the altar of the Capilla de San Miguel (the first chapel
+on the right on entering the church). It was stolen in 1873, and
+recovered in the city shortly after. The chapel is beautifully adorned
+with red marbles and serpentine. It was built by that high-minded,
+beneficent prelate, Archbishop Moscoso, in 1804. His tomb is by the
+sculptor Folch. In the chapel are placed--we do not know why--two
+elegant Chinese vases.
+
+Between this and the next chapel is the entrance to the sacristy or old
+mosque, and to the left of it a small picture, before which that really
+saintly saint, St. John of God, was accustomed to pray. The Capilla de
+la Trinidad has some good paintings, among them a _Trinity_ by Cano, two
+miniatures on copper by the same artist, a _Death of St. Joseph_ by
+Maratta, and copies of works by Raphael and Ribera. There are genuine
+Riberas (_The Child Jesus_, _St. Laurence_, and _St. Mary Magdalene_)
+and more works by Cano in the extravagant eighteenth-century chapel of
+Jesus Nazareno. After this comes the handsome Gothic door of the Chapel
+Royal, by Enrique Egas; and beyond that the Chapel of Santiago, with a
+fine equestrian statue of the Patron Saint of Spain, presented to the
+Cathedral by the City in 1640. The old painting of the Virgen del Perdon
+was given to Isabella the Catholic by Innocent VIII., and used to be
+carried about by the queen. It is publicly venerated (not worshipped or
+adored, please note) on the anniversary of the Reconquest, January 2.
+
+Passing the Cathedral sacristy with its handsome door by Siloe, we pause
+before the Puerta del Colegio. Behind the sculptured Ecce Homo, it is
+said Maeda carved a Lucifer of extraordinary beauty. He applied to Siloe
+for permission to give a proof of his skill, and was told by the testy
+architect to sculpture the Devil himself if he wanted to. Maeda was wag
+enough to take him at his word.
+
+The chapel of Santa Ana covers the vault intended for the archbishops,
+and contains a good sixteenth-century altar-piece, and a St. Jean de
+Matha (a Frenchman, not a Spaniard) by Bocanegra. The six chapels that
+follow present no features of interest. The fourth chapel on the left
+side of the Cathedral is named La Virgen de la Antigua, after a Gothic
+image greatly venerated by Ferdinand the Catholic, and regarded with
+great reverence by the devout of Granada. Here are two portraits by Juan
+de Sevilla of Ferdinand and Isabella at prayer; the king is clad in
+armour. The paintings are in the Venetian style. Of the retablo by
+Cornejo, the less said the better. Cano’s realistic heads of Saints John
+and Paul reflect the fondness of the pietists of his day for the
+morbid--they are in the Chapel of the Virgen del Carmen. The first
+chapel, or baptistry, was erected by Adam and Aguado, at the expense of
+Archbishop Galvan, who is buried here near another occupant of the
+episcopal throne, Don Bienvenido Monzón. The fine reliefs of Saints
+Jerome and Isidore are by Mora. We have now reached the entrance doors,
+on each side of which hangs a good painting. The three pictures over the
+doors represent mystic allegories.
+
+The most interesting feature of the chapter room, or Sala Capitular, is
+the noble porch, with its figures of Justice and Prudence, which, with
+the group of the Trinity, may be safely attributed to Maeda.
+
+Before leaving the Cathedral, the sacristy should be visited. It
+contains Cano’s _Assumption_ and two small statues by him; a _Crucifix_
+by Montañez; a _Holy Family_, by Juan de Sevilla; and a _Mary
+Immaculate_ by Bocanegra. The treasury contains some wonderfully
+embroidered vestments, and good, but not extraordinary, examples of the
+silversmith’s craft. The signet ring of Sixtus III., and the monstrance
+presented by Isabella, have of course, an historical interest.
+
+A casket is also shown to visitors, who are assured it is that in which
+were placed the jewels pawned by Isabella to provide funds for
+Columbus’s first voyage. If this is true, Pandora’s box was as nothing
+compared to this one! The Queen’s Missal, the work of Francisco Flores,
+is beautifully illuminated. It is placed on the high altar on the
+anniversary of the Reconquest. Those interested in arms will handle with
+curiosity the sword of Ferdinand the Catholic; the hilt has a spherical
+pommel and drooping quillons with branches towards the blade, which is
+grooved for about two-thirds of its length. Other relics of the Catholic
+sovereigns are their sceptre, Isabella’s crown, the royal standards used
+at the Reconquest, and a chasuble said to have been embroidered by the
+Queen.
+
+By the door next to the Capilla de San Miguel we pass into the Sagrario
+(sacristy) occupying the site of the old mosque, which it replaced in
+1705. It was designed by Don Francisco Hurtado and Jose de Bada, and it
+is well that the responsibility for so meretricious a piece of
+architecture should be divided. It may be dismissed as Churrigueresque.
+It is not, fortunately, devoid of interest. In one of the chapels is
+buried “the magnificent cavalier, Fernando del Pulgar, Lord of El
+Salar,” as the inscription records. This valiant knight and true, during
+the last campaign against Granada, rode into the city with fifteen
+horsemen, and set a lighted taper on the floor of the mosque, and, as
+others say, nailed a paper bearing the Ave Maria on the door. This
+exploit earned for him and his descendants the extremely valuable
+privilege of wearing their hats in the Cathedral. De Pulgar’s bones have
+fared better than those of the good Archbishop de Talavera, which were
+scattered when the old mosque was demolished. The Sagrario possesses
+several good paintings, including a San José by Cano, of whose works the
+Cathedral buildings, as may have been noticed, contain a fine selection.
+By the door next to the Capilla de Pulgar, and a darkish passage, the
+Chapel Royal may be entered.
+
+The oldest purely Christian building in Granada is the convent and
+chapel of San Jeronimo, a foundation transferred here from Santa Fé
+immediately after the Reconquest. The convent is now a cavalry barracks,
+and is not to be inspected by the curious. The church, built by Diego de
+Siloe, is in the form of a Latin cross--stern, plain, dignified. The
+walls are adorned with frescoes representing scenes from the Passion,
+portraits of the Fathers of the Church, and angels playing on the harp
+and singing. They were executed in 1723 by an obscure painter called
+Juan de Medina. Eight chapels open on the aisles and nave, one
+containing a fine retablo, with the Entombment as subject. The principal
+chapel exhibits Siloe’s skill at its best. He is said to have realised
+in its construction “his lofty ideal of effecting a truly Spanish
+Renaissance; an ideal which bore little fruit, since some of his
+followers confined themselves to the strictest classicism, others to the
+development of the plateresque.” Very much in the spirit of the
+Renaissance is the decoration of the chapel with the statues of the
+worthies of the classic world, Cæsar, Pompey, Hannibal, Homer, and
+others, side by side with Old Testament characters. Strange, this
+admiration for a pagan civilisation co-existent with violent religious
+fanaticism against all contemporary non-Catholics!
+
+The whole church was practically dedicated to the memory of Spain’s
+greatest soldier, the Great Captain, Gonzalo de Cordova, who was buried
+here, but whose ashes have been transferred to Madrid. The hero and his
+duchess are shown, sculptured, kneeling in prayer on either side of the
+high altar, over which rises a magnificent retablo, divided into several
+compartments filled with reliefs and statues. The horizontal sections
+are in the Doric, Ionic, Corinthian, and composite Orders respectively.
+The lowest central compartment is occupied by the Tabernacle, the
+subjects of the three compartments immediately above being the
+Immaculate Conception, St. Jerome, and the Crucifixion. Over all is
+shown the figure of the Eternal Father. This splendid work, the best of
+its kind in Spain, seems to have been executed by a variety of artists,
+among them Juan de Aragon, Pedro de Orea, and Pedro de Raxis. The
+beautiful shell-like vaulting above is adorned with figures of the
+Apostles, of Saints Barbara, Katharine, Magdalen, and Lucy, and the
+warrior-saints, George, Eustace, Martin, Sebastian, and Francis. The
+sword given by the Pope to the Great Captain, formerly one of the
+treasures of the chapel, was carried off by Sebastiani during the
+Peninsular War.
+
+There are a great many beautiful things in this old church which seem to
+escape the ordinary traveller’s notice. The seats in the choir were
+designed by Siloe. The frescoes, representing the Triumph of the
+Church, of the Virgin, and of the Eucharist, the Assumption, &c., are
+very well done. The restoration of the fabric has often been denounced,
+but it is difficult to see how it could have been better carried out.
+
+In the neighbourhood of the Great Captain’s chapel is a monument to a
+hero and a great Spaniard of a very different type. Juan de Robles
+devoted himself to the sick and the suffering with a zeal which earned
+for him confinement in a madman’s cage. His virtues were recognised
+after his death, and procured him canonisation as St. John of God in
+1669. A tribute to his memory which he would have no doubt appreciated
+better is the large hospital founded two years after his death, that is,
+in 1552. The saint’s ashes, in a silver coffin, repose in the hospital
+chapel, a gorgeous structure, characterised by costliness and bad taste.
+The trail of the serpent of Spanish architecture--Churriguera--is over
+all. All that is interesting in it is the portrait of the saint, a copy
+of one in Madrid.
+
+The name of the Great Captain is associated with the Cartuja, or
+suppressed Carthusian monastery, the site of which was his gift. The
+monastery, begun in 1516, was pulled down in 1842. A small portion of
+the buildings, however, remains, together with the church. The single
+nave is disfigured by over-elaborate ornamentation in the plateresque
+style. The doors of the choir are richly and tastefully inlaid with
+ebony and mother of pearl, cedar and tortoise-shell, and were the work
+of a friar, Manuel Vazquez, who died in 1765. The sanctuary, in the
+baroque style, is enriched with precious marbles, some richly veined
+with agates. On some of the slabs the hand of Nature has traced the
+semblances of human and animal forms. In the adjoining sacristy, various
+marbles have been combined so as to produce an effect dazzling and
+gorgeous in the extreme. The hall is certainly one of the most
+remarkable in Spain. Scarcely less marvellous are the exquisitely inlaid
+doors and presses. The generally bad style of the church is also
+redeemed by a statue of St. Bruno, the founder of the Carthusian Order,
+ascribed to Alonso Cano, and some pictures by Bocanegra, Giaquinto, and
+Cotán. The last named, a friar, was responsible for the pictures in the
+cloister, representing the martyrdom of Carthusian monks in London by
+the tyrant Henry VIII. and the brigands who acted as his officers.
+
+The Cartuja was formerly much richer in works of art, but, like San
+Jeronimo, it was ransacked by the French under Sebastiani, who
+exhibited, as on all occasions, the discrimination of a dilettante
+coupled with the rapacity of a bandit.
+
+In front of the church of Santos Pedro y Pablo is a very handsome
+mansion built in 1539 for Hernando de Zafra, secretary of the Catholic
+sovereigns. The portal is in three stages: the first contains the
+entrance, a square doorway, between Doric columns; the second bears the
+escutcheons of the family, above them being sculptured griffins and
+lions; the third, a balcony between pilasters, carved in delicate
+relief. In a line with this is another balcony, bearing the curious
+inscription, _Esperandola del Cielo_--“Looking for it from Heaven.”
+These words are explained by a tragic legend. De Zafra is said to have
+suspected his daughter of a clandestine attachment. To satisfy his
+doubts, he burst into her room one day, and found her page assisting the
+lover to escape by the window. Baulked of his prey, the father turned,
+with death in his face, upon the boy. “Mercy!” shrieked the page. “Look
+for it in Heaven!” answered the Don, as he hurled his daughter’s
+accomplice from the balcony into the street below. So runs the legend.
+De Zafra does not appear, according to the records, to have left any
+children; but his daughter may not have survived the terrible
+consequences of her amour. “After all,” remarks Valladar, “nothing was
+easier in the sixteenth century than to throw a page out of the window
+without attracting the attention of the police or magistrates.”
+
+Granada is by no means as rich in ancient churches and houses as
+Seville. The house of the Great Captain now forms part of the convent of
+Carmelite nuns. On the façade a tablet sets forth that “In this house
+lived, and on December 2, 1515, died, the Great Captain Don Gonzalo
+Fernandez de Aguilar y de Cordoba, Duke of Sessa, Terranova, and
+Santangelo, the Christian hero, and conqueror of the Moors, French, and
+Turks.”
+
+The early sixteenth-century Casa de los Tiros--the property, like the
+Generalife, of the Marques de Campotejar--seems to occupy the site, if
+it did not actually form part, of a Moorish fortified dwelling. Some
+think it was an advanced work of the fortifications known as the Torres
+Bermejas. The interior certainly shows Arabic influence. The staircase
+was probably built by Moors, and there are rich azulejos and a splendid
+_artesanado_ hall. This is adorned with busts of various Spanish
+celebrities, with the graven heads of Moors and Christians, and with
+reliefs of Lucretia, Judith, Semiramis, and Penthesilea.
+
+In this house is preserved an Arabic sword with a magnificent hilt and
+scabbard, said to have belonged to Boabdil. The scabbard, at all events,
+is unquestionably of workmanship posterior to the Reconquest; and it is
+well to be a little on one’s guard in the matter of the numerous relics
+ascribed to the last Moorish king.
+
+Of old Granada, in truth, not much more remains than the buildings we
+have already named. We may glance at the tower of San Juan de los Reyes,
+so badly restored that its peculiar Moorish architecture, more markedly
+Eastern than that of any other Grenadine monument, has been almost
+entirely effaced. And in the old Casa de Ayuntamiento there are some
+historical curiosities, notably the original draft of the charter
+granted to Granada by the Catholic sovereigns, and the handsome official
+shield of the city. Many sites, such as the Plaza de Bibarrambla,
+commemorated in the songs and stories of old Spain, have been completely
+modernised. But there is a monument--a simple column surmounted by an
+iron cross--more deeply interesting than any reared by the Moors. The
+inscription on the pedestal records that on this spot, on May 26, 1831,
+Doña Mariana Pineda was publicly garroted at the age of thirty-two
+years. She died a martyr for liberty and a victim of the strange
+absolutist frenzy which did much to ruin Spain in Ferdinand VII.’s
+reign. Doña Mariana’s house had been a centre for liberal gatherings,
+and when raided by the police was found to contain a tricolour flag.
+She met her death with a courage worthy of her cause. Five years later,
+when the nation had recovered its sanity, her ashes were carried in
+state to the Ayuntamiento. The magistrate who had condemned her was in
+his turn executed. On the same site many Spanish patriots were shot by
+the French--their labour and their lives being given to replace
+Ferdinand VII. on the throne. The square, formerly called the Campillo,
+is now named after Mariana Pineda. You may see there her statue in
+marble, sculptured by Marna and Morales.
+
+The hill called the Sacro Monte is a curious memorial of human
+credulity. In 1594 one Francisco Hernandez reported to the Archbishop
+Don Pedro Vaca de Castro that he had discovered the relics of several
+local martyrs in the caves here. A church of no architectural merit was
+raised on the spot, and became a place of pilgrimage--the evidence that
+the martyrs referred to had ever existed being meanwhile wanting. Within
+the church are preserved some leaden books, inscribed in Arabic
+characters, and supposed to contain the acts, of the saints. These works
+were the subject of a furious controversy in the seventeenth century.
+The caves are interesting on account of their natural peculiarities, and
+were quite probably catacombs used by the early Christians of
+Illiberis. Some rocks may be noticed, in parts worn away by the repeated
+kisses of devotees. There is a superstition that the person who kisses
+the stone the first time will marry within the year, and that a second
+kiss will ensure to those already married an early dissolution of the
+conjugal tie.
+
+On the opposite side of the city, also in the outskirts, is a little
+Mohammedan oratory, now disfigured and restored beyond recognition. It
+is called the Ermita de San Sebastian, and was the place where Boabdil
+gave up the keys of Granada to Ferdinand and Isabel.
+
+When we walk through the streets of the modern Granada, with its tawdry
+churches and commonplace private houses, it does not seem that the city
+has gained much by its change of masters. But its decline was not at
+least very marked till many years after the Reconquest. The French
+invasion, and still more the ruin of the silk industry, completely
+undermined the prosperity of the place. During the last century it lost
+its rank as the seat of a Captain General. But a new day is dawning for
+the proudest city of the Moor, as for all Spain. Granada is content no
+longer to brood over its splendid past; indeed, its citizens seem to
+prize but lightly the monuments of those days. There is a general
+appearance of wealth and elegance about the promenaders on the broad,
+well-lighted paseos; and, thanks to the newly introduced manufacturing
+industry of beetroot sugar, the Vega has already resumed the flourishing
+smiling aspect it wore when a Mohammedan amir called it his and the cry
+of the muezzin was heard from a hundred minarets.
+
+
+
+
+PLAN OF GRANADA
+
+REFERENCE TO PLAN OF GRANADA
+
+BUILDINGS AND PLACES
+
+1. Hospital of San Lázaro.
+
+2.  Church of San Juan de Letran.
+
+3.  Hermitage of Santo Cristo de Yedra.
+
+4.  San Bruno and the Cartuja.
+
+5.  The Sacro Monte.
+
+6.  The Holy Tomb.
+
+7.  Cavalry Barracks, and San Jerónimo.
+
+8.  San Juan de Dios.
+
+9.  San Juan de Dios (Street).
+
+10.  Lunatic Asylum.
+
+11.  Bull Ring. (Plaza de Toros.)
+
+12.  San Ildefonso, and Avenue del Triunfo.
+
+13.  Pay Office.
+
+14.  Gate of Elvira.
+
+15.  Gate of Monaita.
+
+16.  San Andrés.
+
+17.  Children’s Hospital.
+
+18.  Office for Civil Affairs.
+
+19.  Santos Justo and Pastor.
+
+20.  Institute of Music.
+
+21.  Botanical Garden and Nunnery of Piety.
+
+22.  Square of Rull and Godines.
+
+23.  Convent of the Incarnation.
+
+24.  Santa Paula.
+
+25.  Elvira (Street).
+
+26.  San Jerónimo.
+
+27.  Orlando’s Balcony.
+
+28.  San Diego.
+
+29.  San Gregorio.
+
+30.  San Luis.
+
+31.  Arab Ramparts.
+
+32.  San Miguel the Greater.
+
+33.  Gate of the Standards.
+
+34.  El Salvador.
+
+35.  San José.
+
+36.  Convent of the Angel.
+
+37.  Ecclesiastical College.
+
+38.  The Cathedral.
+
+39.   High School and Palace of the Province of Granada.
+
+40.  School of Economics.
+
+41.  Market Place, and Palace of the Archbishop.
+
+42.  Court of First Instance (Plaza Rib-Rambla).
+
+43.  Convent of Augustines and La Magdalena.
+
+44.  House of Grace.
+
+45.  Puentezuelas (Bridge).
+
+46.  Square of Marshal Prim.
+
+47.  Town Hall.
+
+48.  Santa Teresa.
+
+49.  Convent of the Holy Spirit.
+
+50.  Military Office.
+
+51.  Carmelite Convent.
+
+52.  Hospital for Leprosy.
+
+53.  Santa Ana.
+
+54.  Santa Inés.
+
+55.  Convent of the Conception.
+
+56. San Juan de los Reyes.
+
+57. Ex-Convent of The Victory.
+
+58. Watch-tower of the Alhambra (Torre de la Vela).
+
+59. The Alhambra.
+
+60. Gate of Las Granadas.
+
+61. Gate of Judiciary Astrology (Judiciária).
+
+62. The Generalife.
+
+63. Gate of Hierro.
+
+64. San Francisco (formerly Convent of St. Francis).
+
+65. The Chair of the Moor (Silla del Moro).
+
+66. The  Tower of the Seven Storeys (Alhambra).
+
+67. The Fountain of Expiation.
+
+68. Gate of the Sun.
+
+69. Convent of Santa Catalina.
+
+70. Ecce Homo.
+
+71. San Cecilio, and Military Hospital.
+
+73. Santa Escolástica.
+
+74. Capuchin Convent and Santa Maria Egipciaca.
+
+75. San Anton.
+
+76. Gas Works.
+
+77. Public Shambles.
+
+78. San Sebastián and Avenue del Violón.
+
+79. Las Angustias.
+
+80. El Salon.
+
+81. Convent of Santiago.
+
+82. Museum of the Academy of Fine Arts.
+
+83. Monument of Mariana.
+
+84. Artillery Barracks.
+
+85. Principal Theatre (Plaza de Bailén).
+
+86. New Square.
+
+87. Zacatín.
+
+88. Fish Market.
+
+89. Church of Santiago.
+
+90. San Nicolás.
+
+91. Convent of Tomasas.
+
+92. Bermeja Towers.
+
+93. Palace of Charles V.
+
+94. Gate of the Mills.
+
+95. San Basil.
+
+96. Recreation Grounds.
+
+97. Cemetery.
+
+98. Convent of San Bernado and Church of San Pedro.
+
+99. San Bartolomé.
+
+100. Avenue of San Basil.
+
+101. San Cristóbal.
+
+102. Hospital of Corpus Christi.
+
+103. Santa Isabel la Real, and San Miguel the Less.
+
+104. Santa Maria (Ancient Mosque of the Alhambra).
+
+105. San Matías.
+
+106. Gate of Fajalanza.
+
+107. Méndez Nuñez (Street).
+
+[Illustration: GRANADA]
+
+[Illustration: PLATE 1
+
+VIEW OF GRANADA, SHOWING THE ALHAMBRA AND THE SIERRA NEVADA]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF THE ALHAMBRA]
+
+[Illustration: PLATE 3
+
+VIEW OF THE ALHAMBRA FROM THE SACROMONTE ROAD]
+
+[Illustration: PLATE 4
+
+THE ALHAMBRA FROM THE MOOR’S SEAT--LA SILLA DEL MORO]
+
+[Illustration: PLATE 5
+
+GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS]
+
+[Illustration: PLATE 6
+
+VIEW OF THE GATE OF ELVIRA]
+
+[Illustration: PLATE 7
+
+A VIEW OF THE ALHAMBRA FROM THE ALBAICIN (_Sketch_)]
+
+[Illustration: PLATE 8
+
+VIEW OF THE CATHEDRAL AND THE ALHAMBRA FROM SAN GERÓNIMO]
+
+[Illustration: PLATE 9
+
+VIEW OF THE SIERRA NEVADA FROM THE CARRERA DE LAS ANGUSTIAS]
+
+[Illustration: PLATE 10
+
+VIEW OF THE ROYAL GATE]
+
+[Illustration: PLATE 11
+
+VIEW FROM THE TOWER IN THE ALHAMBRA]
+
+[Illustration: PLATE 12
+
+LA PLAZA NUEVA]
+
+[Illustration: PLATE 13
+
+MONUMENT TO COLUMBUS IN THE PASEO DEL SALON; THE SIERRA NEVADA IN THE
+DISTANCE]
+
+[Illustration: PLATE 14
+
+THE STREET OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 15
+
+ARAB SILK MARKET]
+
+[Illustration: PLATE 16
+
+LA CASA DE LOS TIROS]
+
+[Illustration: PLATE 17
+
+CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 18
+
+LIMOGES ENAMEL TRIPTYCH WHICH BELONGED TO THE GRAN CAPITÁN (PROVINCIAL
+MUSEUM, GRANADA)]
+
+[Illustration: PLATE 19
+
+ALTAR IN THE CHURCH OF SAN GERÓNIMO]
+
+[Illustration: PLATE 20
+
+HOUSE IN THE CALLE DE DARRO THE PALACIO DE JUSTICIA]
+
+[Illustration: PLATE 21
+
+THE HOUSE OF CASTRIL]
+
+[Illustration: PLATE 22
+
+TYPICAL GYPSIES AND THEIR QUARTERS]
+
+[Illustration: PLATE 23
+
+GYPSIES IN FRONT OF THEIR DWELLINGS]
+
+[Illustration: PLATE 24
+
+GYPSY DWELLINGS IN THE SACROMONTE]
+
+[Illustration: PLATE 25
+
+GENERAL VIEW OF THE GYPSY QUARTERS]
+
+[Illustration: PLATE 26
+
+INTERIOR OF A GYPSY’S CAVE]
+
+[Illustration: PLATE 27
+
+GROUP OF GYPSIES]
+
+[Illustration: PLATE 28
+
+A GYPSY FAMILY]
+
+[Illustration: PLATE 29
+
+GYPSIES BIVOUACKING]
+
+[Illustration: PLATE 30
+
+GYPSIES]
+
+[Illustration: PLATE 31
+
+GYPSIES CLIPPING A MULE]
+
+[Illustration: PLATE 32
+
+GYPSIES]
+
+[Illustration: PLATE 33
+
+GYPSIES]
+
+[Illustration: PLATE 34
+
+GYPSY DANCE]
+
+[Illustration: PLATE 35
+
+INTERIOR OF THE SACRISTY OF THE CARTUJA]
+
+[Illustration: PLATE 36
+
+INTERIOR OF THE CARTUJA. THE SACRISTY]
+
+[Illustration: PLATE 37
+
+INTERIOR OF THE CARTUJA CHURCH]
+
+[Illustration: PLATE 38
+
+SAINT BRUNO, BY ALONSO CANO, AT THE CARTHUSIAN MONASTERY OF GRANADA]
+
+[Illustration: PLATE 39
+
+EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 40
+
+THE GATE OF PARDON AND THE EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 41
+
+FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 42
+
+EXTERIOR GATE OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 43
+
+DETAIL IN THE ROYAL CHAPEL]
+
+[Illustration: PLATE 44
+
+ANCIENT GOTHIC ENTRANCE TO THE ROYAL CHAPEL]
+
+[Illustration: PLATE 45
+
+GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL, UPPER PART]
+
+[Illustration: PLATE 46
+
+GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 47
+
+EXTERIOR OF THE ROYAL CHAPEL
+
+FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 48
+
+GENERAL VIEW OF THE INTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 49
+
+THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR]
+
+[Illustration: PLATE 50
+
+THE CATHEDRAL. VIEW OF THE PRINCIPAL NAVE]
+
+[Illustration: PLATE 51
+
+THE HIGH ALTAR IN THE CATHEDRAL]
+
+[Illustration: PLATE 52
+
+ALTAR-PIECE IN THE ROYAL CHAPEL, BY F. DE BORGOÑA]
+
+[Illustration: PLATE 53
+
+THE CATHEDRAL. BOABDIL GIVING UP THE KEYS OF GRANADA TO THE CATHOLIC
+SOVEREIGNS. FRAGMENT OF THE ALTAR-PIECE IN THE ROYAL CHAPEL]
+
+[Illustration: PLATE 54
+
+THE INNER CHOIR OF THE CATHEDRAL]
+
+[Illustration: PLATE 55
+
+THE CATHEDRAL. TOMBS OF THE CATHOLIC SOVEREIGNS IN THE ROYAL CHAPEL]
+
+[Illustration: PLATE 56
+
+VIEW OF THE ROYAL CHAPEL AND TOMBS OF THE CATHOLIC SOVEREIGNS, BY P.
+GONZALVO]
+
+[Illustration: PLATE 57
+
+ROYAL CHAPEL. TOMBS OF FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 58
+
+VAULT OF THE CATHOLIC SOVEREIGNS AT GRANADA]
+
+[Illustration: PLATE 59
+
+TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME]
+
+[Illustration: PLATE 60
+
+TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME]
+
+[Illustration: PLATE 61
+
+SCEPTRE, CROWN, SWORD, MASS-BOOK, AND COFFER OF THE CATHOLIC
+SOVEREIGNS]
+
+[Illustration: PLATE 62
+
+RELICS OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 63
+
+ROYAL CHAPEL. STATUE OF QUEEN ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 64
+
+STATUE OF ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 65
+
+CHAPEL OF SAN MIGUEL IN THE CATHEDRAL, MARBLE SCULPTURE]
+
+[Illustration: PLATE 66
+
+Plan of the Alhambra Palace at Granada]
+
+[Illustration: PLATE 67
+
+GENERAL PLAN OF THE ALHAMBRA]
+
+[Illustration: PLATE 68
+
+GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS]
+
+[Illustration: PLATE 69
+
+THE RED TOWERS FROM THE RAMPARTS]
+
+[Illustration: PLATE 70
+
+VIEW OF THE ALHAMBRA FROM THE SACROMONTE]
+
+[Illustration: PLATE 71
+
+GENERAL VIEW OF THE ALHAMBRA AND ALGIBILLO PROMENADE]
+
+[Illustration: PLATE 72
+
+VIEW OF THE ALHAMBRA FROM THE CUESTA DEL CHAPIZ]
+
+[Illustration: PLATE 73
+
+THE RED TOWERS]
+
+[Illustration: PLATE 74
+
+GENERAL VIEW OF THE ALHAMBRA]
+
+[Illustration: PLATE 75
+
+THE TOWER OF THE PEAKS]
+
+[Illustration: PLATE 76
+
+THE INFANTAS’ TOWER AND CAPTIVE’S TOWER]
+
+[Illustration: PLATE 77
+
+VIEW OF THE WATCH TOWER AND GRANADA]
+
+[Illustration: PLATE 78
+
+VIEW OF THE RAMPARTS AND THE WATCH TOWER]
+
+[Illustration: PLATE 79
+
+THE AQUEDUCT TOWER AND THE AQUEDUCT]
+
+[Illustration: PLATE 80
+
+THE GATE OF JUSTICE. DETAIL OF A DOOR IN THE COURT OF THE MYRTLES]
+
+[Illustration: PLATE 81
+
+THE ALHAMBRA AND THE SIERRA NEVADA]
+
+[Illustration: PLATE 82
+
+GRANADA, FROM THE HOMAGE TOWER]
+
+[Illustration: PLATE 83
+
+“THE QUEEN’S DRESSING-ROOM,” AT THE SUMMIT OF THE MIHRAB TOWER, WITH
+DISTANT VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 84
+
+THE GATE OF JUSTICE, ERECTED BY YUSUF I]
+
+[Illustration: PLATE 85
+
+THE TOWER OF THE PEAKS]
+
+[Illustration: PLATE 86
+
+THE CAPTIVE’S TOWER]
+
+[Illustration: PLATE 87
+
+EXTERIOR OF THE MOSQUE, PRIVATE PROPERTY]
+
+[Illustration: PLATE 88
+
+TOWER OF THE AQUEDUCT]
+
+[Illustration: PLATE 89
+
+ASCENT TO THE ALHAMBRA BY THE CUESTA DEL REY CHICO--LESSER KING HILL]
+
+[Illustration: PLATE 90
+
+THE LADIES’ TOWER]
+
+[Illustration: PLATE 91
+
+PART OF THE ALHAMBRA, EXTERIOR]
+
+[Illustration: PLATE 92
+
+THE HOMAGE TOWER. ANCIENT ARAB RUINS IN THE ALCAZÁBA]
+
+[Illustration: PLATE 93
+
+GATE OF JUSTICE. THE ALHAMBRA]
+
+[Illustration: PLATE 94
+
+GATE OF JUSTICE (_Sketch_)]
+
+[Illustration: PLATE 95
+
+THE GATE OF JUSTICE]
+
+[Illustration: PLATE 96
+
+PLAN, HEIGHT AND DETAILS OF THE GATE OF THE LAW COMMONLY CALLED OF
+JUSTICE]
+
+[Illustration: PLATE 97
+
+ELEVATION OF THE ANCIENT GATE OF JUSTICE]
+
+[Illustration: PLATE 98
+
+PORTAL COMMONLY CALLED THE GATE OF THE VINE]
+
+[Illustration: PLATE 99
+
+PORCH OF THE GATE OF JUDGMENT]
+
+[Illustration: PLATE 100
+
+ELEVATION OF THE WINE GATE]
+
+[Illustration: PLATE 101
+
+TRANSVERSE SECTION OF PART OF THE ALHAMBRA]
+
+[Illustration: PLATE 102
+
+SECTION SHOWING]
+
+[Illustration: PLATE 103
+
+HEIGHTS OF THE ALHAMBRA]
+
+[Illustration: PLATE 104
+
+PROMENADES AT THE ENTRANCE TO ALHAMBRA]
+
+[Illustration: PLATE 105
+
+THE HALL OF JUSTICE AND COURT OF THE LIONS]
+
+[Illustration: PLATE 106
+
+HALL OF JUSTICE. LEFT SIDE]
+
+[Illustration: PLATE 107
+
+HALL OF JUSTICE, SHOWING FOUNTAIN OF COURT OF THE LIONS]
+
+[Illustration: PLATE 108
+
+SECTION OF THE HALL OF JUSTICE (LOOKING EAST)]
+
+[Illustration: PLATE 109
+
+SECTION OF THE HALL OF JUSTICE (LOOKING TOWARDS THE COURT OF THE
+LIONS)]
+
+[Illustration: PLATE 110
+
+VERTICAL SECTION OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 111
+
+DETAILS OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 112
+
+PLAN AND WINDOW OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 113
+
+PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 1]
+
+[Illustration: PLATE 114
+
+PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 3]
+
+[Illustration: PLATE 115
+
+PART OF PICTURE IN THE HALL OF JUSTICE--THE MOOR’S RETURN FROM HUNTING]
+
+[Illustration: PLATE 116
+
+HALL OF JUSTICE--THE DEATH OF THE LION AT THE HANDS OF A CHRISTIAN
+KNIGHT]
+
+[Illustration: PLATE 117
+
+PART OF PICTURE IN THE HALL OF JUSTICE REPRESENTING A CHRISTIAN KNIGHT
+RESCUING A MAIDEN FROM A WICKED MAGICIAN, OR WILD-MAN-O’-THE-WOODS. THE
+CHRISTIAN KNIGHT IS, IN TURN, SLAIN BY A MOORISH WARRIOR]
+
+[Illustration: PLATE 118
+
+PART OF PICTURE IN HALL OF JUSTICE--MOORISH HUNTSMAN SLAYING THE WILD
+BOAR]
+
+[Illustration: PLATE 119
+
+HALL OF JUSTICE--THREE FIGURES FROM THE PICTURE OF THE MOORISH
+TRIBUNAL]
+
+[Illustration: PLATE 120
+
+THE MOSQUE AND GENERALIFE]
+
+[Illustration: PLATE 121
+
+COURT OF THE MOSQUE]
+
+[Illustration: PLATE 122
+
+FAÇADE OF THE MOSQUE]
+
+[Illustration: PLATE 123
+
+INTERIOR OF THE MOSQUE IN THE ALHAMBRA]
+
+[Illustration: PLATE 124
+
+INTERIOR OF THE MOSQUE]
+
+[Illustration: PLATE 125
+
+ELEVATION OF THE PORTICO ADJACENT TO THE MOSQUE]
+
+[Illustration: PLATE 126
+
+DETAIL OF THE ENTRANCE DOOR OF THE MOSQUE]
+
+[Illustration: PLATE 127
+
+AN ARCHED WINDOW OF THE MOSQUE]
+
+[Illustration: PLATE 128
+
+AN ARCHED WINDOW OF THE MOSQUE]
+
+[Illustration: PLATE 129
+
+THE KORAN RECESS IN THE MOSQUE, THE SCENE OF YUSUF’S ASSASSINATION]
+
+[Illustration: PLATE 130
+
+THE MOSQUE FROM KORAN RECESS]
+
+[Illustration: PLATE 131
+
+DETAILS OF ORNAMENT OF KORAN RECESS NEAR THE ENTRANCE DOOR OF THE
+MOSQUE]
+
+[Illustration: PLATE 132
+
+CORNICE AND WINDOW IN THE FAÇADE OF THE MOSQUE]
+
+[Illustration: PLATE 133
+
+VERTICAL SECTION OF THE MOSQUE]
+
+[Illustration: PLATE 134
+
+ARAB LAMP IN MOSQUE]
+
+[Illustration: PLATE 135
+
+DETAILS OF THE FRONT OF THE MOSQUE OF THE HAREM]
+
+[Illustration: PLATE 136
+
+DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE]
+
+[Illustration: PLATE 137
+
+DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE]
+
+[Illustration: PLATE 138
+
+ORNAMENT IN PANELS, COURT OF THE MOSQUE]
+
+[Illustration: PLATE 139
+
+WINDOW IN THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 140
+
+ENTRANCE TO THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 141
+
+HALL OF AMBASSADORS]
+
+[Illustration: PLATE 142
+
+SECTION AND ELEVATION OF THE INTERIOR OF THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 143
+
+ENCAUSTIC-TILE WORK OF THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 144
+
+ORNAMENT IN PANELS, HALL OF AMBASSADORS]
+
+[Illustration: PLATE 145
+
+INSCRIPTIONS IN THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 146
+
+KUFIC INSCRIPTIONS, HALL OF AMBASSADORS]
+
+[Illustration: PLATE 147
+
+“WA LA GHÁLIB ILA ALÁ!”--THERE IS NO CONQUEROR BUT GOD!--THE FAMOUS
+MOTTO OF MOHAMMED I. AND HIS SUCCESSORS. AN EXAMPLE FROM THE HALL OF
+AMBASSADORS]
+
+[Illustration: PLATE 148
+
+THE COURT OF THE LIONS FROM THE TEMPLETE POMIENTE]
+
+[Illustration: PLATE 149
+
+ENTRANCE TO THE COURT OF THE LIONS THROUGH THE POMIENTE CORNER]
+
+[Illustration: PLATE 150
+
+NORTH GALLERY AND FAÇADE OF THE HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 151
+
+THE COURT OF THE LIONS FROM THE POMIENTE CORNER]
+
+[Illustration: PLATE 152
+
+VIEW IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 153
+
+VIEW IN THE COURT OF THE LIONS FROM THE HALL OF JUSTICE]
+
+[Illustration: PLATE 154
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 155
+
+GENERAL VIEW OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 156
+
+COURT OF THE LIONS]
+
+[Illustration: PLATE 157
+
+NORTH GALLERY IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 158
+
+SECTION, COURT OF THE LIONS]
+
+[Illustration: PLATE 159
+
+PAVILION IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 160
+
+FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 161
+
+HALL OF JUSTICE AND COURT OF THE LIONS]
+
+[Illustration: PLATE 162
+
+ANGLE IN THE HALL OF JUSTICE]
+
+[Illustration: PLATE 163
+
+HALL OF JUSTICE]
+
+[Illustration: PLATE 164
+
+CEILING OF THE HALL OF JUSTICE]
+
+[Illustration: PLATE 165
+
+THE MOSQUE, AND VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 166
+
+EXTERIOR OF A WINDOW IN THE MOSQUE]
+
+[Illustration: PLATE 167
+
+THE MOSQUE, AND VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 168
+
+INTERIOR OF THE MOSQUE]
+
+[Illustration: PLATE 169
+
+COURT OF THE MOSQUE, WEST FAÇADE]
+
+[Illustration: PLATE 170
+
+INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH]
+
+[Illustration: PLATE 171
+
+INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH]
+
+[Illustration: PLATE 172
+
+JALOUSIES IN THE COURT OF THE MOSQUE]
+
+[Illustration: PLATE 173
+
+ENTRANCE TO THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 174
+
+BALCONY IN THE HALL OF AMBASSADORS]
+
+[Illustration: PLATE 175
+
+DETAIL OF THE HALL OF THE ARCHED WINDOWS]
+
+[Illustration: PLATE 176
+
+DETAIL IN THE HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 177
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 178
+
+GENERAL VIEW OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 179
+
+THE FOUNTAIN AND WEST TEMPLE OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 180
+
+ELEVATION OF THE FOUNTAIN OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 181
+
+THE FOUNTAIN OF THE COURT OF THE LIONS, WITH DETAILS OF THE ORNAMENT]
+
+[Illustration: PLATE 182
+
+PLAN OF THE BASIN OF THE FOUNTAIN IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 183
+
+SECTION OF THE PAVILION IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 184
+
+SECTION OF THE HALL OF THE TWO SISTERS, AND]
+
+[Illustration: PLATE 185
+
+SECTION OF PART OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 186
+
+CAPITAL IN THE COURT OF THE LIONS, WITH A SCALE OF ONE METRE]
+
+[Illustration: PLATE 187
+
+DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 188
+
+FRIEZE OVER COLUMNS, COURT OF THE LIONS]
+
+[Illustration: PLATE 189
+
+DETAIL OF THE CENTRAL ARCH IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 190
+
+THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN
+OF THE COURT OF THE LIONS]
+
+[Illustration: PLATE 191
+
+ENTABLATURE IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 192
+
+CUPOLA OF THE PAVILION IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 193
+
+ENTRANCE TO THE COURT OF THE LIONS
+
+LITTLE TEMPLE, THE COURT OF THE LIONS]
+
+[Illustration: PLATE 194
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 195
+
+THE LITTLE TEMPLE
+
+THE FOUNTAIN
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 196
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 197
+
+THE COURT OF THE LIONS, WEST ANGLE]
+
+[Illustration: PLATE 198
+
+MOROCCO EMBASSY, DECEMBER, 1885]
+
+[Illustration: PLATE 199
+
+THE COURT OF THE LIONS FROM THE WEST TEMPLE]
+
+[Illustration: PLATE 200
+
+THE COURT OF THE LIONS FROM THE WEST TEMPLE]
+
+[Illustration: PLATE 201
+
+WEST GALLERY IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 202
+
+THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 203
+
+THE COURT OF THE LIONS, LEFT-HAND ANGLE]
+
+[Illustration: PLATE 204
+
+THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 205
+
+THE COURT OF THE LIONS FROM THE ENTRANCE]
+
+[Illustration: PLATE 206
+
+DETAIL OF THE ENTRANCE TO THE COURT OF THE LIONS]
+
+[Illustration: PLATE 207
+
+DETAIL IN THE COURT OF THE LIONS]
+
+[Illustration: PLATE 208
+
+MOSAICS, NORTH SIDE
+
+MOSAICS, SOUTH SIDE
+
+THE COURT OF THE LIONS]
+
+[Illustration: PLATE 209
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 210
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 211
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 212
+
+HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 213
+
+WOODEN DOORS, HALL OF THE ABENCERRAGES]
+
+[Illustration: PLATE 214
+
+GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 215
+
+COURT OF THE MYRTLES; OR, OF THE FISH-POND. FAÇADE OF THE HALL OF
+AMBASSADORS]
+
+[Illustration: PLATE 216
+
+COURT OF THE MYRTLES; OR, OF THE FISH-POND]
+
+[Illustration: PLATE 217
+
+GENERAL VIEW OF THE COURT OF THE MYRTLES; OR, OF THE FISH-POND]
+
+[Illustration: PLATE 218
+
+NORTH SIDE OF THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 219
+
+ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 220
+
+GALLERY IN THE COURT OF THE MYRTLES; OR, OF THE FISH-POND]
+
+[Illustration: PLATE 221
+
+GENERAL VIEW OF THE COURT OF THE MYRTLES AND COMARES TOWER]
+
+[Illustration: PLATE 222
+
+COURT OF THE MYRTLES, EAST FAÇADE]
+
+[Illustration: PLATE 223
+
+DETAIL IN THE COURT OF THE MYRTLES]
+
+[Illustration: PLATE 224
+
+COURT OF THE MYRTLES, EAST FAÇADE]
+
+[Illustration: PLATE 225
+
+EXTERIOR OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE
+MYRTLES]
+
+[Illustration: PLATE 226
+
+THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 227
+
+ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 228
+
+COURT OF THE MYRTLES; OR, OF THE FISH-POND FORMED BY YUSÚF I.]
+
+[Illustration: PLATE 229
+
+THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
+
+GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
+
+[Illustration: PLATE 230
+
+THE HALL OF THE BATHS]
+
+[Illustration: PLATE 231
+
+THE SULTAN’S BATH]
+
+[Illustration: PLATE 232
+
+THE SULTANA’S BATH]
+
+[Illustration: PLATE 233
+
+THE BATHS, HALL OF REPOSE]
+
+[Illustration: PLATE 234
+
+CHAMBER OF REPOSE]
+
+[Illustration: PLATE 235
+
+SECTION OF THE HALL OF THE BATHS]
+
+[Illustration: PLATE 236
+
+LONGITUDINAL SECTION THROUGH THE BATHS]
+
+[Illustration: PLATE 237
+
+GROUND PLAN OF THE BATHS IN THE ALHAMBRA]
+
+[Illustration: PLATE 238
+
+CEILING OF THE HALL OF THE BATHS]
+
+[Illustration: PLATE 239
+
+PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA]
+
+[Illustration: PLATE 240
+
+A SECTION OF THE BATHS IN THE ALHAMBRA]
+
+[Illustration: PLATE 241
+
+CHAMBER OF REPOSE
+
+SULTAN’S BATH CONSTRUCTED BY YUSÚF I.]
+
+[Illustration: PLATE 242
+
+INTERIOR OF THE INFANTAS’ TOWER]
+
+[Illustration: PLATE 243
+
+SECTIONS OF THE INFANTAS’ TOWER]
+
+[Illustration: PLATE 244
+
+INTERIOR OF THE TOWER OF THE INFANTAS, UPPER PART]
+
+[Illustration: PLATE 245
+
+BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE VEGA, OR
+PLAIN, OF GRANADA]
+
+[Illustration: PLATE 246
+
+ALCOVE OF THE “CAPTIVE” (ISABEL DE SOLIS)]
+
+[Illustration: PLATE 247
+
+INTERIOR OF THE TOWER OF THE “CAPTIVE” (ISABEL DE SOLIS)]
+
+[Illustration: PLATE 248
+
+THE “CAPTIVE’S” TOWER FROM THE ENTRANCE]
+
+[Illustration: PLATE 249
+
+INTERIOR OF THE MOSQUE
+
+ROOM IN THE “CAPTIVE’S” TOWER]
+
+[Illustration: PLATE 250
+
+HALL OF JUSTICE
+
+BATHS, THE CHAMBER OF REPOSE]
+
+[Illustration: PLATE 251
+
+BALCONY OF THE FAVOURITE, “LINDARAJA”]
+
+[Illustration: PLATE 252
+
+ALCOVE IN THE “LINDARAJA” APARTMENTS]
+
+[Illustration: PLATE 253
+
+GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID TO HAVE
+BEEN OCCUPIED BY “LINDARAJA” A FAVOURITE SULTANA]
+
+[Illustration: PLATE 254
+
+DETAIL, INTERIOR OF THE BALCONY OF “LINDARAJA”]
+
+[Illustration: PLATE 255
+
+DETAIL, LOWER PART OF THE BALCONY OF “LINDARAJA”]
+
+[Illustration: PLATE 256
+
+DETAIL OF THE CENTRAL PART OF THE BALCONY OF “LINDARAJA”]
+
+[Illustration: PLATE 257
+
+THE QUEEN’S BOUDOIR AND DISTANT VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 258
+
+THE QUEEN’S BOUDOIR AND VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 259
+
+THE QUEEN’S BOUDOIR AND OLD ALBAICIN QUARTER]
+
+[Illustration: PLATE 260
+
+THE QUEEN’S BOUDOIR AND DEFILE OF THE DARRO]
+
+[Illustration: PLATE 261
+
+LINDARAJA’S GARDEN AND THE APARTMENTS IN WHICH WASHINGTON IRVING
+STAYED]
+
+[Illustration: PLATE 262
+
+ANGLE OF THE BALCONY OF LINDARAJA]
+
+[Illustration: PLATE 263
+
+BALCONY OF THE FAVOURITE LINDARAJA]
+
+[Illustration: PLATE 264
+
+INTERIOR OF THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS]
+
+[Illustration: PLATE 265
+
+EXTERIOR OF THE CAPTIVE’S TOWER]
+
+[Illustration: PLATE 266
+
+THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS]
+
+[Illustration: PLATE 267
+
+INTERIOR OF THE INFANTAS’ TOWER, UPPER PART]
+
+[Illustration: PLATE 268
+
+INTERIOR OF THE INFANTAS’ TOWER]
+
+[Illustration: PLATE 269
+
+DETAIL OF THE UPPER PART OF THE BALCONY OF LINDARAJA]
+
+[Illustration: PLATE 270
+
+HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 271
+
+ENTRANCE TO THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 272
+
+INTERIOR OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 273
+
+HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 274
+
+HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 275
+
+TEMPLE AND FAÇADE OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 276
+
+VIEW IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 277
+
+HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY YÚSUF I.]
+
+[Illustration: PLATE 278
+
+UPPER BALCONY OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 279
+
+HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR]
+
+[Illustration: PLATE 280
+
+CEILING OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 281
+
+DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 282
+
+DETAIL OF THE LATERAL WINDOWS OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 283
+
+DETAIL IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 284
+
+PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 285
+
+INSCRIPTION IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 286
+
+FRIEZE IN THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 287
+
+PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 288
+
+DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 289
+
+BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 290
+
+MOSAIC IN DADO OF RECESS
+
+MOSAIC IN DADO OF THE ENTRANCE TO THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 291
+
+MOSAIC IN DADO OF HALL OF AMBASSADORS
+
+MOSAIC IN DADO OF THE HALL OF THE TWO SISTERS]
+
+[Illustration: PLATE 292
+
+WINE GATE. WEST FAÇADE]
+
+[Illustration: PLATE 293
+
+DETAIL OF THE ONLY ANCIENT “JALOUSIE” REMAINING IN THE ALHAMBRA]
+
+[Illustration: PLATE 294
+
+EL JARRO. ARAB VASE NOW IN THE MUSEUM OF THE PALACE]
+
+[Illustration: PLATE 295
+
+EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF
+THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM
+OF THE PALACE]
+
+[Illustration: PLATE 296
+
+AN ARAB VASE OF THE FOURTEENTH CENTURY IN THE NICHE WHEREIN IT STOOD
+UNTIL THE YEAR 1837]
+
+[Illustration: PLATE 297
+
+SWORD OF THE LAST MOORISH KING OF GRANADA, COMMONLY CALLED “THE SWORD OF
+BOABDIL”]
+
+[Illustration: PLATE 298
+
+THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY
+2, 1492]
+
+[Illustration: PLATE 299
+
+GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE
+ALHAMBRA, WHO REIGNED 1232-1272 A.D.]
+
+[Illustration: PLATE 300
+
+DETAILS AND INSCRIPTIONS, AND ARABIAN CAPITALS]
+
+[Illustration: PLATE 301
+
+THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA,
+TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492]
+
+[Illustration: PLATE 302
+
+MOSAIC PAVEMENT IN THE QUEEN’S DRESSING ROOM (TOCADOR DE LA REYNA)
+
+MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA]
+
+[Illustration: PLATE 303
+
+THE HOUSE OF CARBON]
+
+[Illustration: PLATE 304
+
+THE ANCIENT GRANARY MARKET AND HOUSE OF CARBON]
+
+[Illustration: PLATE 305
+
+ELEVATION OF THE CASA DEL CARBON, OR HOUSE OF CARBON, ONCE KNOWN AS THE
+HOUSE OF THE WEATHERCOCK]
+
+[Illustration: PLATE 306
+
+COURTYARD OF A MOORISH HOUSE IN THE ALBAICIN]
+
+[Illustration: PLATE 307
+
+INTERIOR OF AN ARAB HOUSE IN THE ALBAICIN]
+
+[Illustration: PLATE 308
+
+THE PROCLAMATION OF BOABDIL. BY PLÁCIDO FRANCES
+
+(NATIONAL EXHIBITION OF BEAUX ARTS, 1884)]
+
+[Illustration: PLATE 309
+
+THE AUTHOR IN THE ALHAMBRA]
+
+[Illustration: PLATE 310
+
+CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA. THE SPLENDID CORNICE AT
+THE RIGHT-HAND TOP CORNER IS FROM THE LOGGIA OF THE GENERALIFE]
+
+[Illustration: PLATE 311
+
+MISCELLANEOUS ORNAMENT IN THE ALHAMBRA]
+
+[Illustration: PLATE 312
+
+THE FABLE OF JUPITER AND LEDA IN THE ALHAMBRA]
+
+[Illustration: PLATE 313
+
+BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA]
+
+[Illustration: PLATE 314
+
+ARABIAN SWORD]
+
+[Illustration: PLATE 315
+
+CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA]
+
+[Illustration: PLATE 316
+
+ENCAUSTIC-TILE WORK IN THE ROYAL ROOM OF SANTO DOMINGO]
+
+[Illustration: PLATE 317
+
+VARIOUS MOSAICS FROM THE ALHAMBRA]
+
+[Illustration: PLATE 318
+
+INSCRIPTIONS IN THE ALHAMBRA]
+
+[Illustration: PLATE 319
+
+PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE
+ALHAMBRA]
+
+[Illustration: PLATE 320
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
+
+[Illustration: PLATE 321
+
+ANCIENT CISTERN. EARLY FOURTEENTH CENTURY]
+
+[Illustration: PLATE 322
+
+THE ALHAMBRA
+
+_Specially drawn for The Spanish Series_]
+
+[Illustration: PLATE 323
+
+PART OF EXTERIOR OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 324
+
+ELEVATION OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 325
+
+SECTION OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 326
+
+FOUNTAIN OF THE EMPEROR CHARLES V.]
+
+[Illustration: PLATE 327
+
+VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
+
+[Illustration: PLATE 328
+
+INTERIOR OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 329
+
+DOORWAY OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 330
+
+BAS-RELIEF IN THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 331
+
+PORCH OF THE PALACE OF CHARLES V. FROM THE WEST]
+
+[Illustration: PLATE 332
+
+ROMAN COURT, PALACE OF CHARLES V.]
+
+[Illustration: PLATE 333
+
+GROUND PLAN OF THE GENERALIFE AT GRANADA
+
+A. Advanced parts
+B. The Inner Gallery, commanding a view of the Gardens
+C, C, C, C. Terraces and Aqueducts
+D, D, D, E, E. The surrounding country
+]
+
+[Illustration: PLATE 334
+
+THE GENERALIFE]
+
+[Illustration: PLATE 335
+
+THE PRINCIPAL COURT OF THE GENERALIFE]
+
+[Illustration: PLATE 336
+
+THE COURT OF THE FISH POND IN THE GENERALIFE]
+
+[Illustration: PLATE 337
+
+PROMENADES AND GARDENS OF THE GENERALIFE]
+
+[Illustration: PLATE 338
+
+THE GENERALIFE]
+
+[Illustration: PLATE 339
+
+FRONT VIEW OF THE PORTICO OF THE GENERALIFE]
+
+[Illustration: PLATE 340
+
+TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE]
+
+[Illustration: PLATE 341
+
+GALLERY IN THE GENERALIFE]
+
+[Illustration: PLATE 342
+
+THE GENERALIFE
+
+GALLERY IN THE ACEQUIA COURT]
+
+[Illustration: PLATE 343
+
+THE GENERALIFE
+
+ENTRANCE TO THE PORTRAIT GALLERY]
+
+[Illustration: PLATE 344
+
+GARDEN OF THE GENERALIFE]
+
+[Illustration: PLATE 345
+
+ELEVATION OF THE PORTICO OF THE GENERALIFE]
+
+[Illustration: PLATE 346
+
+THE ACEQUIA COURT IN THE GENERALIFE]
+
+[Illustration: PLATE 347
+
+A CORNER OF THE ACEQUIA COURT IN THE GENERALIFE]
+
+[Illustration: PLATE 348
+
+CYPRESS COURT
+
+A CORNER IN THE ACEQUIA COURT]
+
+[Illustration: PLATE 349
+
+THE CYPRESS OF THE SULTANA IN THE GENERALIFE]
+
+[Illustration: PLATE 350
+
+A CEILING IN THE GENERALIFE]
+
+[Illustration: PLATE 351
+
+THE GENERALIFE. THE ACEQUIA COURT FROM THE MAIN ENTRANCE]
+
+[Illustration: PLATE 352
+
+THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
+
+[Illustration: PLATE 353
+
+EXTERIOR VIEW OF THE GENERALIFE]
+
+[Illustration: PLATE 354
+
+ENTRANCE TO THE GENERALIFE]
+
+[Illustration: PLATE 355
+
+THE GENERALIFE. COURT OF THE SULTANA’S CYPRESS]
+
+[Illustration: PLATE 356
+
+THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
+
+[Illustration: PLATE 357
+
+SOUTH FAÇADE OF THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 358
+
+BAS-RELIEF IN THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 359
+
+BAS-RELIEF IN THE PALACE OF CHARLES V.]
+
+[Illustration: PLATE 360
+
+GATE OF THE GRANADAS]
+
+[Illustration: PLATE 361
+
+PROMENADES AND HOTELS OF THE ALHAMBRA]
+
+[Illustration: PLATE 362
+
+THE GATE OF JUSTICE AND FOUNTAIN OF CHARLES V.]
+
+[Illustration: PLATE 363
+
+ENVIRONS OF THE ALHAMBRA. FOUNTAIN OF CHARLES V.]
+
+[Illustration: PLATE 364
+
+GATE OF JUSTICE. PRINCIPAL ENTRANCE TO THE ALHAMBRA]
+
+[Illustration: PLATE 365
+
+GATE OF JUSTICE]
+
+[Illustration: PLATE 366
+
+GATE OF THE VINE. EAST FAÇADE]
+
+[Illustration: PLATE 367
+
+ENVIRONS OF THE ALHAMBRA. TOWER OF THE PEAKS]
+
+[Illustration: PLATE 368
+
+TOWER OF THE PEAKS]
+
+[Illustration: PLATE 369
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE SILLA DEL MORO]
+
+[Illustration: PLATE 370
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE GIPSY QUARTERS]
+
+[Illustration: PLATE 371
+
+GENERAL VIEW OF THE ALHAMBRA FROM THE GENERALIFE]
+
+[Illustration: PLATE 372
+
+VIEW OF GRANADA AND THE ALHAMBRA FROM THE SACROMONTE]
+
+[Illustration: PLATE 373
+
+GENERAL VIEW OF THE ALHAMBRA FROM ST. NICHOLAS]
+
+[Illustration: PLATE 374
+
+THE WATCH TOWER, THE CATHEDRAL, AND GRANADA]
+
+[Illustration: PLATE 375
+
+VILLAS ON THE BANKS OF THE RIVER DARRO]
+
+[Illustration: PLATE 376
+
+A VIEW OF THE ALHAMBRA]
+
+[Illustration: PLATE 377
+
+VILLAS ON THE BANKS OF THE RIVER DARRO]
+
+[Illustration: PLATE 378
+
+THE WATCH TOWER AND CATHEDRAL]
+
+[Illustration: PLATE 379
+
+THE RED TOWER]
+
+[Illustration: PLATE 380
+
+THE HOMAGE TOWER AND GIPSY QUARTERS. EXTERIOR OF THEIR CAVES]
+
+[Illustration: PLATE 381
+
+CARRERA DEL RIO DARRO]
+
+[Illustration: PLATE 382
+
+THE GATE OF ELVIRA. THE OLD ENTRANCE TO THE FORTIFICATIONS]
+
+[Illustration: PLATE 383
+
+WASHING PLACE IN THE PUERTA DEL SOL]
+
+[Illustration: PLATE 384
+
+COURTYARD OF AN ARAB HOUSE]
+
+[Illustration: PLATE 385
+
+A MOORISH ARCHWAY]
+
+[Illustration: PLATE 386
+
+INTERIOR OF AN OLD HOUSE IN THE CALLE DEL HORNO DE ORO]
+
+[Illustration: PLATE 387
+
+INTERIOR OF AN OLD HOUSE IN THE ALBAICIN]
+
+[Illustration: PLATE 388
+
+THE CATHEDRAL AND GENERAL VIEW]
+
+[Illustration: PLATE 389
+
+GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 390
+
+GENERAL VIEW OF THE EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 391
+
+ENTRANCE TO THE ROYAL CHAPEL]
+
+[Illustration: PLATE 392
+
+EXTERIOR OF THE ROYAL CHAPEL OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 393
+
+DETAIL OF THE EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 394
+
+EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 395
+
+EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 396
+
+EXTERIOR OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 397
+
+EXTERIOR OF THE CATHEDRAL. THE GATE OF PARDON]
+
+[Illustration: PLATE 398
+
+GOTHIC PINNACLE ON THE ROYAL CHAPEL]
+
+[Illustration: PLATE 399
+
+THE CATHEDRAL, VIEW FROM THE CHOIR]
+
+[Illustration: PLATE 400
+
+THE CATHEDRAL. GENERAL VIEW OF THE CHANCEL AND HIGH ALTAR]
+
+[Illustration: PLATE 401
+
+BAS RELIEF IN THE ALTAR-PIECE OF THE ROYAL CHAPEL]
+
+[Illustration: PLATE 402
+
+GENERAL VIEW OF THE CHANCEL IN THE CATHEDRAL]
+
+[Illustration: PLATE 403
+
+THE ROYAL CHAPEL. SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 404
+
+ROYAL CHAPEL. DETAIL OF THE SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 405
+
+THE ROYAL CHAPEL. SCULPTURE OF KING FERDINAND THE CATHOLIC]
+
+[Illustration: PLATE 406
+
+SEPULCHRE OF FERDINAND]
+
+[Illustration: PLATE 407
+
+SEPULCHRE OF ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 408
+
+PORTAL OF THE CHURCH OF SAN JUAN DE DIO]
+
+[Illustration: PLATE 409
+
+SEPULCHRE OF ALONSO CANO IN SAN GERONIMO]
+
+[Illustration: PLATE 410
+
+HEAD OF JOHN THE BAPTIST]
+
+[Illustration: PLATE 411
+
+HEAD OF JOHN THE BAPTIST]
+
+[Illustration: PLATE 412
+
+HEAD OF JOHN THE BAPTIST]
+
+[Illustration: PLATE 413
+
+EXTERIOR OF THE CARTUJA MONASTERY]
+
+[Illustration: PLATE 414
+
+SACRISTY IN THE CARTUJA, LEFT SIDE]
+
+[Illustration: PLATE 415
+
+SACRISTY IN THE CARTUJA, RIGHT SIDE]
+
+[Illustration: PLATE 416
+
+CARTUJA. SANTO SANTORUM]
+
+[Illustration: PLATE 417
+
+CARTUJA. DETAIL OF THE CUPBOARDS IN THE SACRISTY]
+
+[Illustration: PLATE 418
+
+ALTARS IN THE CARTUJA. PICTURES BY SANCHEZ Y COTÁN, A MONK OF THE
+ORDER]
+
+[Illustration: PLATE 419
+
+CARTUJA. THE IMMACULATE CONCEPTION. BY MURILLO]
+
+[Illustration: PLATE 420
+
+CARTUJA. THE VIRGIN OF THE ROSARY. BY MURILLO]
+
+[Illustration: PLATE 421
+
+CARTUJA. ST. JOSEPH AND THE CHILD, SCULPTURE BY ALONSO CAÑO]
+
+[Illustration: PLATE 422
+
+CARTUJA. ST. MARY MAGDALENE, SCULPTURE BY ALONSO CAÑO]
+
+[Illustration: PLATE 423
+
+CARTUJA. HORSEMEN HANGING MARTYRS. BY SANCHEZ COTÁN]
+
+[Illustration: PLATE 424
+
+CARTUJA. THE BAPTISM OF OUR LORD. BY SANCHEZ COTÁN]
+
+[Illustration: PLATE 425
+
+CARTUJA. THE HOLY FAMILY. BY SANCHEZ COTÁN]
+
+[Illustration: PLATE 426
+
+THE CRUCIFIXION OF OUR LORD. BY MORALES]
+
+[Illustration: PLATE 427
+
+THE CONCEPTION OF OUR LADY. BY MORALES]
+
+[Illustration: PLATE 428
+
+THE GIPSY QUARTERS. EXTERIOR OF THE CAVES]
+
+[Illustration: PLATE 429
+
+THE GIPSY QUARTERS. AN “AT HOME”]
+
+[Illustration: PLATE 430
+
+GIPSY DANCE IN THEIR QUARTERS]
+
+[Illustration: PLATE 431
+
+GIPSY TYPES AT THE DOORS OF THEIR CAVES]
+
+[Illustration: PLATE 432
+
+GIPSY DANCE IN THEIR QUARTERS]
+
+[Illustration: PLATE 433
+
+GIPSY DANCERS AND THEIR CAPTAIN, J. AMAYA]
+
+[Illustration: PLATE 434
+
+BRIDGE OF THE GENIL]
+
+[Illustration: PLATE 435
+
+GENERAL VIEW]
+
+[Illustration: PLATE 436
+
+GENERAL VIEW OF THE OLD ALBAICIN]
+
+[Illustration: PLATE 437
+
+GENERAL VIEW FROM THE WATCH TOWER]
+
+[Illustration: PLATE 438
+
+OLD ARAB PALACE. NOW THE PROPERTY OF A SPANISH NOBLEMAN]
+
+[Illustration: PLATE 439
+
+THE OLD TOWN HALL]
+
+[Illustration: PLATE 440
+
+THE ROYAL GATE AND STREET OF THE CATHOLIC SOVEREIGNS]
+
+[Illustration: PLATE 441
+
+MONUMENT TO COLUMBUS IN THE PASEO DEL SALÓN]
+
+[Illustration: PLATE 442
+
+THE RAW SILK MARKET]
+
+[Illustration: PLATE 443
+
+THE RAW SILK MARKET. ANCIENT ARAB SILK MARKET]
+
+[Illustration: PLATE 444
+
+EXTERIOR OF AN OLD HOUSE, CUESTA DEL PESCADO]
+
+[Illustration: PLATE 445
+
+THE COURT OF JUSTICE]
+
+[Illustration: PLATE 446
+
+CARRERA DEL DARRO]
+
+[Illustration: PLATE 447
+
+MARKET AND GIPSY FAIR IN THE TRIUNFO]
+
+[Illustration: PLATE 448
+
+CALLE DE SAN ANTON]
+
+[Illustration: PLATE 449
+
+ANTEQUERUELA QUARTER, SIERRA NEVADA, AND THE “LAST SIGH OF THE MOOR”]
+
+[Illustration: PLATE 450
+
+CARRERA DE GENIL AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 451
+
+PLAZA DE MARIANA PINEDA, ARAB HOUSE, AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 452
+
+GENERAL VIEW OF THE ALHAMBRA AND OF THE SIERRA NEVADA FROM ST. MICHAEL]
+
+[Illustration: PLATE 453
+
+HUÉTOR HIGH ROAD AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 454
+
+VILLAS ON THE BORDERS OF THE RIVER DARRO]
+
+[Illustration: PLATE 455
+
+DEFILE OF THE DARRO]
+
+[Illustration: PLATE 456
+
+THE GREEN BRIDGE AND VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 457
+
+VIEW OF THE SIERRA NEVADA]
+
+[Illustration: PLATE 458
+
+GENERAL VIEW OF THE SIERRA NEVADA AND THE RIVER GENIL]
+
+[Illustration: PLATE 459
+
+GRANADA
+
+_Specially drawn for The Spanish Series_]
+
+[Illustration: PLATE 460
+
+ARMS OF GRANADA]
+
+THE
+
+SPANISH SERIES
+
+Edited by ALBERT F. CALVERT
+
+
+A new and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.
+
+
+Crown 8vo Price 3/6 net
+
+ 1 GOYA                            with 600 illustrations
+ 2 TOLEDO                          ”    510        ”
+ 3 MADRID                          ”    450        ”
+ 4 SEVILLE                         ”    300        ”
+ 5 MURILLO                         ”    165        ”
+ 6 CORDOVA                         ”    160        ”
+ 7 EL GRECO                        ”    140        ”
+ 8 VELAZQUEZ                       ”    142        ”
+ 9 THE PRADO                       ”    223        ”
+10 THE ESCORIAL                    ”    278        ”
+11 ROYAL PALACES OF SPAIN          ”    200        ”
+12 GRANADA AND ALHAMBRA            ”    460        ”
+13 SPANISH ARMS AND ARMOUR         ”    386        ”
+14 LEON, BURGOS AND SALAMANCA      ”    462        ”
+15 VALLADOLID, OVIEDO, SEGOVIA,
+   ZAMORA, AVILA AND ZARAGOZA      ”    390        ”
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MURILLO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+While the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.
+
+In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SPANISH ARMS AND ARMOUR
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
+
+
+Although several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.
+
+The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE ESCORIAL
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS
+
+
+The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.
+
+In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+TOLEDO
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS
+
+
+The origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”
+
+But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.
+
+In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SEVILLE
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
+
+
+Seville, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.
+
+Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.
+
+The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE PRADO
+
+A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG
+
+
+This volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.
+
+The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.
+
+The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GRANADA AND THE ALHAMBRA
+
+A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE
+
+
+This volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.
+
+In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so--it is my hope--the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+EL GRECO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES
+
+
+In a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.
+
+El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures--a greater number than has ever before been
+published of El Greco’s works.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VELAZQUEZ
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+Diego Rodriguez de Silva y Velazquez--“our Velazquez,” as Palomino
+proudly styles him--has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.
+
+The great Velazquez, the eagle in art--subtle, simple, incomparable--the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.
+
+The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+ROYAL PALACES OF SPAIN
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED
+
+
+Spain is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.
+
+The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS
+
+
+The glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.
+
+More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.
+
+In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+LEON, BURGOS AND SALAMANCA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS
+
+
+In Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.
+
+Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital; and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.
+
+Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MADRID
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS
+
+
+Madrid is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.
+
+The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GOYA
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES
+
+
+The last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”
+
+The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.
+
+It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+CORDOVA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS
+
+
+Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.
+
+Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.
+
+
+
+
+BY ALBERT F. CALVERT
+
+LIFE OF CERVANTES
+
+A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”
+
+Size Crown 8vo.         150 pp.         Price 3/6 net
+
+PRESS NOTICES
+
+
+“A popular and accessible account of the career of Cervantes.”--_Daily
+Chronicle._
+
+“A very readable and pleasant account of one of the great writers of all
+time.”--_Morning Leader._
+
+“MR. CALVERT is entitled to the gratitude of book-lovers for his
+industrious devotion at one of our greatest literary
+shrines.”--_Birmingham Post._
+
+“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”--_Black and White._
+
+“We recommend the book to all those to whom Cervantes is more than a
+mere name.”--_Westminster Gazette._
+
+“A most interesting résumé of all facts up to the present time
+known.”--_El Nervion de Bilbao, Spain._
+
+“The most notable work dedicated to the immortal author of Don Quixote
+that has been published in England.”--_El Graduador, Spain._
+
+“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.”--_El Defensor de
+Granada, Spain._
+
+BY ALBERT F. CALVERT
+
+THE ALHAMBRA
+
+OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.
+
+Size 10 x 7-1/2.       Price £2 2s. net
+
+PRESS NOTICES
+
+
+“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”--_Building World._
+
+“One is really puzzled where to begin and when to stop in praising the
+illustrations.”--_Bookseller._
+
+“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”--_British Architect._
+
+“A treasure to the student of decorative art.”--_Morning Advertiser._
+
+“Mr. CALVERT has given us a Book Beautiful.”--_Western Daily Press._
+
+“It is the last word on the subject, no praise is too
+high.”--_Nottingham Express._
+
+“May be counted among the more important art books which have been
+published during recent years.”--_The Globe._
+
+“Has a pride of place that is all its own among the books of the
+month.”--_Review of Reviews._
+
+“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”--_El Graduador,
+Spain._
+
+“It is one of the most beautiful books of modern times.”--_Ely Gazette._
+
+“One of the most artistic productions of the year.”--_Publishers’
+Circular._
+
+“The most beautiful book on the Alhambra issued in England.”--_Sphere._
+
+“The standard work on a splendid subject.”--_Daily Telegraph._
+
+“A remarkable masterpiece of book production.”--_Eastern Daily Press._
+
+“A perfect treasure of beauty and delight.”--_Keighley News._
+
+“A magnificent work.”--_Melbourne Age, Australia._
+
+“Immense collection of fine plates.”--_The Times._
+
+“A standard work, the compilation of which would credit a life’s
+labour.”--_Hull Daily Mail._
+
+BY ALBERT F. CALVERT
+
+MOORISH REMAINS IN SPAIN
+
+
+BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.
+
+Crown 4to. (7-1/2 x 10 ins.)     Price £2 2s. net
+
+PRESS NOTICES
+
+
+“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”--_Pall Mall
+Gazette._
+
+“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”--_The Scotsman._
+
+“A most gorgeous book.... We cheerfully admit Mr. CALVERT into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”--_Outlook._
+
+“A large and sumptuous volume.”--_Tribune._
+
+“The illustrations are simply marvels of reproduction.”--_Dundee
+Advertiser._
+
+“One of the books to which a simple literary review cannot pretend to do
+justice.”--_Spectator._
+
+“A special feature of a work of peculiar interest and value are the
+illustrations.”--_Newcastle Chronicle._
+
+“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”--_Liverpool Post._
+
+“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”--_Birmingham Daily Post._
+
+“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”--_Academy._
+
+“It is certainly one of the most interesting books of the
+year.”--_Crown._
+
+“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”--_Guardian._
+
+“An excellent piece of work.”--_The Times._
+
+“Mr. CALVERT has performed a useful work.”--_Daily Telegraph._
+
+“A truly sumptuous volume.”--_The Speaker._
+
+“Mr. CALVERT has given a very complete account of the evolution of
+Moresco art.”--_The Connoisseur._
+
+
+FOOTNOTES:
+
+[A] He is reckoned as Mohammed VI. by the writers who deny the title of
+Sultan to the usurper of Mohammed V.’s throne.
+
+[B] Known as Mohammed X.
+
+[C] I adopt Mr. U. R. Burke’s statement of the relationship between
+Abu-l-Hassan, Zoraya, and Boabdil. (Burke, “History of Spain,” II. p.
+98.)
+
+[D] Here was lodged the cavalry of the Moorish Sultans.
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK GRANADA AND THE ALHAMBRA ***
+
+Updated editions will replace the previous one--the old editions will
+be renamed.
+
+Creating the works from print editions not protected by U.S. copyright
+law means that no one owns a United States copyright in these works,
+so the Foundation (and you!) can copy and distribute it in the
+United States without permission and without paying copyright
+royalties. Special rules, set forth in the General Terms of Use part
+of this license, apply to copying and distributing Project
+Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
+concept and trademark. Project Gutenberg is a registered trademark,
+and may not be used if you charge for an eBook, except by following
+the terms of the trademark license, including paying royalties for use
+of the Project Gutenberg trademark. If you do not charge anything for
+copies of this eBook, complying with the trademark license is very
+easy. You may use this eBook for nearly any purpose such as creation
+of derivative works, reports, performances and research. Project
+Gutenberg eBooks may be modified and printed and given away--you may
+do practically ANYTHING in the United States with eBooks not protected
+by U.S. copyright law. Redistribution is subject to the trademark
+license, especially commercial redistribution.
+
+START: FULL LICENSE
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full
+Project Gutenberg-tm License available with this file or online at
+www.gutenberg.org/license.
+
+Section 1. General Terms of Use and Redistributing Project
+Gutenberg-tm electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or
+destroy all copies of Project Gutenberg-tm electronic works in your
+possession. If you paid a fee for obtaining a copy of or access to a
+Project Gutenberg-tm electronic work and you do not agree to be bound
+by the terms of this agreement, you may obtain a refund from the
+person or entity to whom you paid the fee as set forth in paragraph
+1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this
+agreement and help preserve free future access to Project Gutenberg-tm
+electronic works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the
+Foundation" or PGLAF), owns a compilation copyright in the collection
+of Project Gutenberg-tm electronic works. Nearly all the individual
+works in the collection are in the public domain in the United
+States. If an individual work is unprotected by copyright law in the
+United States and you are located in the United States, we do not
+claim a right to prevent you from copying, distributing, performing,
+displaying or creating derivative works based on the work as long as
+all references to Project Gutenberg are removed. Of course, we hope
+that you will support the Project Gutenberg-tm mission of promoting
+free access to electronic works by freely sharing Project Gutenberg-tm
+works in compliance with the terms of this agreement for keeping the
+Project Gutenberg-tm name associated with the work. You can easily
+comply with the terms of this agreement by keeping this work in the
+same format with its attached full Project Gutenberg-tm License when
+you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are
+in a constant state of change. If you are outside the United States,
+check the laws of your country in addition to the terms of this
+agreement before downloading, copying, displaying, performing,
+distributing or creating derivative works based on this work or any
+other Project Gutenberg-tm work. The Foundation makes no
+representations concerning the copyright status of any work in any
+country other than the United States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other
+immediate access to, the full Project Gutenberg-tm License must appear
+prominently whenever any copy of a Project Gutenberg-tm work (any work
+on which the phrase "Project Gutenberg" appears, or with which the
+phrase "Project Gutenberg" is associated) is accessed, displayed,
+performed, viewed, copied or distributed:
+
+  This eBook is for the use of anyone anywhere in the United States and
+  most other parts of the world 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. If you are not located in the
+  United States, you will have to check the laws of the country where
+  you are located before using this eBook.
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is
+derived from texts not protected by U.S. copyright law (does not
+contain a notice indicating that it is posted with permission of the
+copyright holder), the work can be copied and distributed to anyone in
+the United States without paying any fees or charges. If you are
+redistributing or providing access to a work with the phrase "Project
+Gutenberg" associated with or appearing on the work, you must comply
+either with the requirements of paragraphs 1.E.1 through 1.E.7 or
+obtain permission for the use of the work and the Project Gutenberg-tm
+trademark as set forth in paragraphs 1.E.8 or 1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any
+additional terms imposed by the copyright holder. Additional terms
+will be linked to the Project Gutenberg-tm License for all works
+posted with the permission of the copyright holder found at the
+beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including
+any word processing or hypertext form. However, if you provide access
+to or distribute copies of a Project Gutenberg-tm work in a format
+other than "Plain Vanilla ASCII" or other format used in the official
+version posted on the official Project Gutenberg-tm website
+(www.gutenberg.org), you must, at no additional cost, fee or expense
+to the user, provide a copy, a means of exporting a copy, or a means
+of obtaining a copy upon request, of the work in its original "Plain
+Vanilla ASCII" or other form. Any alternate format must include the
+full Project Gutenberg-tm License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works
+provided that:
+
+* You pay a royalty fee of 20% of the gross profits you derive from
+  the use of Project Gutenberg-tm works calculated using the method
+  you already use to calculate your applicable taxes. The fee is owed
+  to the owner of the Project Gutenberg-tm trademark, but he has
+  agreed to donate royalties under this paragraph to the Project
+  Gutenberg Literary Archive Foundation. Royalty payments must be paid
+  within 60 days following each date on which you prepare (or are
+  legally required to prepare) your periodic tax returns. Royalty
+  payments should be clearly marked as such and sent to the Project
+  Gutenberg Literary Archive Foundation at the address specified in
+  Section 4, "Information about donations to the Project Gutenberg
+  Literary Archive Foundation."
+
+* You provide a full refund of any money paid by a user who notifies
+  you in writing (or by e-mail) within 30 days of receipt that s/he
+  does not agree to the terms of the full Project Gutenberg-tm
+  License. You must require such a user to return or destroy all
+  copies of the works possessed in a physical medium and discontinue
+  all use of and all access to other copies of Project Gutenberg-tm
+  works.
+
+* You provide, in accordance with paragraph 1.F.3, a full refund of
+  any money paid for a work or a replacement copy, if a defect in the
+  electronic work is discovered and reported to you within 90 days of
+  receipt of the work.
+
+* You comply with all other terms of this agreement for free
+  distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project
+Gutenberg-tm electronic work or group of works on different terms than
+are set forth in this agreement, you must obtain permission in writing
+from the Project Gutenberg Literary Archive Foundation, the manager of
+the Project Gutenberg-tm trademark. Contact the Foundation as set
+forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+works not protected by U.S. copyright law in creating the Project
+Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
+electronic works, and the medium on which they may be stored, may
+contain "Defects," such as, but not limited to, incomplete, inaccurate
+or corrupt data, transcription errors, a copyright or other
+intellectual property infringement, a defective or damaged disk or
+other medium, a computer virus, or computer codes that damage or
+cannot be read by your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium
+with your written explanation. The person or entity that provided you
+with the defective work may elect to provide a replacement copy in
+lieu of a refund. If you received the work electronically, the person
+or entity providing it to you may choose to give you a second
+opportunity to receive the work electronically in lieu of a refund. If
+the second copy is also defective, you may demand a refund in writing
+without further opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
+OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of
+damages. If any disclaimer or limitation set forth in this agreement
+violates the law of the state applicable to this agreement, the
+agreement shall be interpreted to make the maximum disclaimer or
+limitation permitted by the applicable state law. The invalidity or
+unenforceability of any provision of this agreement shall not void the
+remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in
+accordance with this agreement, and any volunteers associated with the
+production, promotion and distribution of Project Gutenberg-tm
+electronic works, harmless from all liability, costs and expenses,
+including legal fees, that arise directly or indirectly from any of
+the following which you do or cause to occur: (a) distribution of this
+or any Project Gutenberg-tm work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg-tm work, and (c) any
+Defect you cause.
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of
+computers including obsolete, old, middle-aged and new computers. It
+exists because of the efforts of hundreds of volunteers and donations
+from people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future
+generations. To learn more about the Project Gutenberg Literary
+Archive Foundation and how your efforts and donations can help, see
+Sections 3 and 4 and the Foundation information page at
+www.gutenberg.org
+
+Section 3. Information about the Project Gutenberg Literary
+Archive Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non-profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Contributions to the Project Gutenberg Literary
+Archive Foundation are tax deductible to the full extent permitted by
+U.S. federal laws and your state's laws.
+
+The Foundation's business office is located at 809 North 1500 West,
+Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
+to date contact information can be found at the Foundation's website
+and official page at www.gutenberg.org/contact
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without
+widespread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine-readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To SEND
+DONATIONS or determine the status of compliance for any particular
+state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including checks, online payments and credit card donations. To
+donate, please visit: www.gutenberg.org/donate
+
+Section 5. General Information About Project Gutenberg-tm electronic works
+
+Professor Michael S. Hart was the originator of the Project
+Gutenberg-tm concept of a library of electronic works that could be
+freely shared with anyone. For forty years, he produced and
+distributed Project Gutenberg-tm eBooks with only a loose network of
+volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as not protected by copyright in
+the U.S. unless a copyright notice is included. Thus, we do not
+necessarily keep eBooks in compliance with any particular paper
+edition.
+
+Most people start at our website which has the main PG search
+facility: www.gutenberg.org
+
+This website includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/64620-0.zip b/old/64620-0.zip
new file mode 100644
index 0000000..4ab11f0
--- /dev/null
+++ b/old/64620-0.zip
diff --git a/old/64620-h.zip b/old/64620-h.zip
new file mode 100644
index 0000000..e179f66
--- /dev/null
+++ b/old/64620-h.zip
diff --git a/old/64620-h/64620-h.htm b/old/64620-h/64620-h.htm
new file mode 100644
index 0000000..4091d06
--- /dev/null
+++ b/old/64620-h/64620-h.htm
@@ -0,0 +1,9139 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en">
+  <head>  <link rel="coverpage" href="images/cover.jpg" />
+<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
+<title>
+  The Project Gutenberg eBook of Granada
+and the Alhambra, by Albert F. Calvert.
+</title>
+<style type="text/css">
+
+a:link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+  link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
+
+a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
+
+big {font-size: 130%;}
+
+body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;}
+
+.bxx {border:1px solid black;padding:1em;
+margin:1em auto;max-width:15em;}
+
+.c {text-align:center;text-indent:0%;}
+
+.caption  {font-weight:normal;}
+.caption p{font-size:75%;text-align:center;text-indent:0%;}
+
+.cb {text-align:center;text-indent:0%;font-weight:bold;}
+
+.chuge {text-align:center;text-indent:0%;font-weight:bold;
+font-size:225%;letter-spacing:.1em;}
+
+.cund {text-align:center;text-indent:0%;
+text-decoration:underline;}
+
+.footnotes  {border:dotted 3px gray;margin-top:5%;clear:both;}
+
+.footnote   {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;}
+
+.label  {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;}
+
+.fnanchor   {vertical-align:30%;font-size:.8em;}
+
+.figcenter   {margin:3% auto 3% auto;clear:both;
+text-align:center;text-indent:0%;page-break-before:always;}
+
+.hang {text-indent:-2%;margin-left:2%;}
+
+ h1 {margin-top:5%;text-align:center;clear:both;margin-bottom:.001em;
+font-weight:bold;font-size:255%;}
+
+ h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both;
+ font-size:175%;font-weight:normal;}
+
+ h3 {margin:4% auto 2% auto;text-align:center;clear:both;
+font-size:120%;font-weight:normal;}
+
+ h4 {margin:4% auto 2% auto;text-align:center;clear:both;
+font-size:100%;font-weight:normal;}
+
+ hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;}
+
+ hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black;
+padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;}
+
+ img {border:none;}
+
+.letra {font-size:250%;float:left;margin-top:-1%;}
+
+.lnht {line-height:1.5em;}
+
+.nind {text-indent:0%;}
+
+.nonvis {display:inline;}
+ @media print, handheld
+ {.nonvis
+ {display: none;}
+ }
+
+ p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;}
+
+.pagenum  {font-style:normal;position:absolute;
+left:95%;font-size:55%;text-align:right;color:gray;
+background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;}
+@media print, handheld
+{.pagenum
+ {display: none;}
+ }
+
+.pdd {padding-left:1em;text-indent:-1em;}
+
+.r {text-align:right;margin-right: 5%;}
+
+.redd {color:#DE0810;}
+
+.rt {text-align:right;}
+
+small {font-size: 70%;}
+
+.smcap  {font-variant:small-caps;font-size:100%;}
+
+table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;}
+
+td.spc {padding-left:2em;padding-right:2em;}
+
+div.poetry {text-align:center;}
+div.poem {font-size:100%;margin:auto auto;text-indent:0%;
+display: inline-block; text-align: left;}
+.poem .stanza     {margin-top: 1em;margin-bottom:1em;}
+.poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+.poem span.i1     {display: block; margin-left: .45em; padding-left: 3em; text-indent: -3em;}
+
+div.blk {font-size:140%;margin: 0em auto 4em auto;text-indent:0%;
+display: inline-block; text-align: left;}
+</style>
+  </head>
+<body>
+
+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Granada and the Alhambra, by Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+are not located in the United States, you will have to check the laws of the
+country where you are located before using this eBook.
+</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Granada and the Alhambra</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>Release Date: February 25, 2021 [eBook #64620]</div>
+
+<div style='display:block; margin:1em 0'>Language: English</div>
+
+<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
+
+<div style='display:block; margin-left:2em; text-indent:-2em'>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)</div>
+
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK GRANADA AND THE ALHAMBRA ***</div>
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/front.jpg">
+<img src="images/front.jpg"
+height="550" alt="[Image of
+the book's cover unavailable.]" /></a>
+</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"><a href="#CONTENTS">Contents.</a></p>
+
+<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><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"><a href="#PLAN_OF_GRANADA">Plan of Granada</a></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></p>
+
+<p class="c">THE SPANISH SERIES</p>
+
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<p class="c">GRANADA AND<br />
+THE ALHAMBRA</p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table>
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Granada and Alhambra</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Leon, Burgos and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia</span><br />
+<span class="smcap">Zamora, Avila and Zaragoza</span><br />
+</td></tr>
+</table>
+
+</div>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<h1><span class="redd">
+GRANADA &nbsp;AND<br />
+THE ALHAMBRA</span></h1>
+
+<div class="poetry">
+<div class="blk">A BRIEF DESCRIPTION OF THE<br />
+ANCIENT CITY OF &nbsp; GRANADA<br />
+WITH A PARTICULAR ACCOUNT<br />
+OF &nbsp; &nbsp; THE&nbsp;  &nbsp; MOORISH &nbsp; PALACE<br />
+BY &nbsp; &nbsp; &nbsp; ALBERT &nbsp; &nbsp; F. &nbsp; &nbsp; CALVERT<br />
+WITH &nbsp; &nbsp; &nbsp;460&nbsp; &nbsp; &nbsp; ILLUSTRATIONS<br />
+</div></div>
+
+<p class="c"><span class="redd">
+LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>NEW YORK: JOHN LANE COMPANY MCMVII<br />
+<br /><br />
+Printed by <span class="smcap">Ballantyne &amp; Co. Limited</span><br />
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span>Tavistock Street, London<br />
+<br />
+<br /><br /><span class="lnht">
+TO<br />
+H.I.M. THE EMPRESS EUGÉNIE<br />
+THIS SOUVENIR OF THAT FAIR GRANADAN HOME<br />
+FROM WHICH SHE CARRIED<br />
+THE CROWN OF SPANISH BEAUTY<br />
+TO GRACE THE THRONE OF FRANCE<br />
+IS DEDICATED<br />
+IN ACCORDANCE WITH HER MAJESTY’S<br />
+GRACIOUS PERMISSION<br /></span>
+<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p>
+
+<h2><a name="PREFACE_TO_FIRST_EDITION" id="PREFACE_TO_FIRST_EDITION"></a>PREFACE TO FIRST EDITION</h2>
+
+<p class="nind"><span class="smcap">Although</span> the admission may be construed by the censorious as betraying a
+lack of becoming diffidence, I am tempted to believe that no apology
+will be demanded for the publication of this volume by that section of
+the reading public for which it has been chiefly compiled. My temerity
+goes even further, and I anticipate with some confidence that visitors
+to the Alhambra, and pilgrims to that famous Mecca of Moorish
+workmanship, will recognise in this book an earnest attempt to supply a
+long-felt want. When I paid my first visit to Granada some years ago, I
+was surprised and disappointed to find that no such thing as an even
+fairly adequate illustrated souvenir of this “city of the dawn” was to
+be obtained. Many tomes, costly and valuable (not necessarily the same
+thing), have been written to place on record the wonders of “the
+glorious sanctuary of Spain,” but these are beyond the reach of the
+general public. Many beautiful pictures have caught odd ecstasies of<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span>
+this superb and perfectly harmonised palace of art, but these
+impressions are not available to the ordinary tourist.</p>
+
+<p>What is wanted, as I imagine, is a concise history and description of
+the Alhambra, illustrated with a series of pictures constituting a
+tangible remembrancer of the delights of this Granadian paradise</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">“Where glory rests ’tween laurels,<br /></span>
+<span class="i1">A torch to give thee light!”<br /></span>
+</div></div>
+</div>
+
+<p>The Alhambra may be likened to an exquisite opera which can only be
+appreciated to the full when one is under the spell of its magic
+influence. But as the witchery of an inspired score can be recalled by
+the sound of an air whistled in the street, so&mdash;it is my hope&mdash;the pale
+ghost of this Moorish fairy-land may live again in the memories of
+travellers through the medium of this pictorial epitome.</p>
+
+<p>I desire, however, to submit an explanation&mdash;or excuse&mdash;for the unusual
+form in which this volume is issued. At the commencement of my work I
+experienced no little difficulty in collecting the requisite
+illustrations, for most of the obtainable photographs were ill-chosen
+and but carelessly developed, and I was compelled to press my own
+cameras into the service of my scheme. But when my designs became known,
+I was inundated with offers of pictures of every description, until<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> the
+embarrassment of artistic treasures entirely upset the original purpose
+of my book. Artists placed their studies at my disposal; collectors
+begged me, with irresistible Spanish courtesy, to regard their galleries
+as my own; and students directed my attention to little-known
+publications on the subject.</p>
+
+<p>Don Mariano Contreras, Conservator of the Alhambra, the son of the
+gifted Raphaël Contreras, who devoted thirty-seven years of his life to
+the restoration of the Palace&mdash;gave me the benefit of his knowledge of
+this unique treasure-house of art; and I have also laid under
+contribution the beautiful plates of Owen Jones, who disposed of a Welsh
+inheritance in order to produce his great work on the <i>Plans,
+Elevations, Sections, and Details of the Alhambra</i>. Jones’s <i>Grammar of
+Ornament</i>, which has been described as “beautiful enough to be the
+horn-book of the Angels,” also contains the result of his researches in
+the Alhambra, which occupied him for the greater part of eleven years. A
+selection of these illustrations is here rescued from the obscurity of
+public libraries and the inaccessible fastnesses of private collections.
+The inclusion of John F. Lewis’s drawings, and the reproduction of a
+series of pictures by James C. Murphy, who spent seven years in the
+study of the artistic marvels of the Alhambra, I do not feel called upon
+to defend.<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span> The photographs, several of which were placed at my disposal
+by Don Rafaël Garzón, represent the buildings as they appear to-day; the
+drawings were made before the Palace was damaged by the disastrous fire
+of September, 1890.</p>
+
+<p>For the historical portions of the description contained in the
+letterpress I have levied tribute on a variety of authors. <i>The History
+of the Mohammedan Dynasties in Spain</i>, by the learned Spanish
+Orientalist, Don Pascual de Gayángos; Raphaël Contreras’ <i>Étude
+Descriptive des Monuments Arabes</i>; Richard Ford’s reverent
+appreciations; Dr. R. Dozy’s history; Mr. Stanley Lane-Poole’s <i>The
+Moors in Spain</i>; Washington Irving’s fascinating writings; and <i>The
+Alhambra Album</i>, presented by Prince Dolgorouki in 1829, containing the
+autographs, poems, and thoughts of succeeding generations of visitors to
+Granada, these and many others have been drawn upon in the following
+pages.</p>
+
+<p>But the multiplicity of my illustrations convinced me that if I adhered
+to my idea of furnishing an amount of letterpress sufficient to “carry”
+the blocks, I should only end in producing a book that would tax the
+physical endurance of my readers by reason of its bulk, and exhaust
+their patience with a tedious super-abundance of minute descriptive
+pabulum. I resolved, therefore, to give pride of place to the<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span> pictorial
+side of the volume; to abandon the traditions regulating the proportions
+of prose to pictures; and make my appeal to the public by the beauty and
+variety of the illustrations I have collected, and the immensity of
+elaborate letterpress which I have not written.</p>
+
+<p class="r">
+A. F. C.<br />
+</p>
+
+<p class="hang">
+“<span class="smcap">Royston</span>,”<br />
+<span class="smcap">Hampstead</span>, N.W., 1904.<br />
+<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></p>
+
+<h2><a name="PREFACE_TO_SECOND_EDITION" id="PREFACE_TO_SECOND_EDITION"></a>PREFACE TO SECOND EDITION</h2>
+
+<p class="nind"><span class="smcap">The</span> compilation of a book of this kind reveals in the author a
+refreshing optimism which does not always survive the ordeal of
+publication, and it is, perhaps, out of sympathy with the misgivings
+that assail him as he approaches the bar of public and critical opinion,
+that convention cedes to him the privilege of making some apology for
+the faith that is in him. In his preface he is permitted to explain
+himself, and this <i>apologia</i> or justification, call it which you will,
+stands as the last word in his own defence. But the demand for a further
+edition is the outcome of an amiable conspiracy on the part of the
+public, and it is not required of the author to explain, justify, or
+excuse an issue for which he is not directly responsible. Any revision
+or amplification, however, which is to be found in a second impression,
+may be briefly referred to, and at the same time tradition allows him to
+express the feelings of gratitude and gratification that the occasion
+inspires.</p>
+
+<p>It has been my ambition to acknowledge the<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span> favour with which this book
+has been received, by having the present edition produced with the
+greatest care on special paper, and by the addition of a number of new
+illustrations, including some half-tone and coloured plates reproduced
+from the <i>Monumentos Arquitectónicos de España</i> and other sources, which
+I have acquired since it was first produced. It will be seen that
+several of the coloured pictures in this book illustrate designs which
+are common to the Arabian ornamentation to be found in Cordova and
+Seville, and, as being representative of the Moresco work of the period,
+they also appear in the companion volume on <i>Moorish Remains in Spain</i>,
+but it may be stated that the whole of the plates reproduced here are
+from photographs and drawings secured or specially made to illustrate
+<i>The Alhambra</i>. In its pictorial appeal it has been my ambition to make
+this edition as worthy of its subject as means and ability permit, and I
+offer this assurance as an earnest of my sincere appreciation of the
+generous manner in which the Press and public rewarded my previous
+effort.</p>
+
+<p class="r">
+A. F. C.<br />
+<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></p>
+
+<h2><a name="PREFACE_TO_NEW_EDITION" id="PREFACE_TO_NEW_EDITION"></a>PREFACE TO NEW EDITION</h2>
+
+<p class="nind"><span class="smcap">The</span> generous appreciation with which my larger book on the Alhambra was
+received by both the Press and the public in Spain and America, as well
+as in this country, encourages me to hope that the present volume will
+prove a popular addition to this Spanish Series. Three years ago, when I
+published <i>The Alhambra</i> to supply what my own experience taught me to
+be a real want, the scale and quality of the illustrations made it
+impossible to issue the work at a popular price. I am now enabled to
+present an inexpensive and, I trust, adequate souvenir of the
+fascinating city of Granada and its Red Palace. The text is no mere
+reprint of the matter which appeared in my former work, but embodies the
+results of a more critical, though not less appreciative, survey of the
+last monuments of the Spanish Moor. Bearing in mind, too, that the
+illustrations, being on a reduced scale, called for fuller explanation,
+I have endeavoured to condense as much detail and descriptive matter
+into the letterpress as the limits I had laid down for myself admitted.<span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span>
+Those limits were still further encroached upon by the additional wealth
+of illustration which resulted from the decision to include the city of
+Granada in a work which, in previous issues, had been devoted entirely
+to the palace of the Alhambra, and the new pictorial matter so acquired
+threatened to annex all the space allotted for the text. But little as I
+liked the idea of further condensing the letterpress, I was even less
+inclined to neglect the opportunity of enhancing the pictorial value of
+the volume. In dealing with the Moorish art of Spain, I have always
+recognised that the popular want is for pictures rather than the printed
+word, and I venture to hope that the present volume, which surpasses its
+costlier predecessors in the number of the plates reproduced, will
+constitute a serviceable if not exhaustive guide to the beautiful
+Moorish capital, and an artistic remembrancer of its fascinating
+monuments.</p>
+
+<p>I have to acknowledge my obligations to Mr. E. B. d’Auvergne for his
+kind and valuable assistance in the compilation of the text, and for
+permission to reproduce many of the additional photographs I am indebted
+to the courtesy of Don Senan y Gonzalez, of Herr Ernst Wasmuth of
+Berlin, publisher of Uhde’s <i>Baudenkmaeler in Spanien und Portugal</i>, and
+of Herr Eugen Twietmeyer of Leipzig, publisher of Junghandel’s <i>Die
+Baukunst Spaniens</i>.<span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></p>
+
+<p>As I have remarked in the preface to the volume on Cordova, it may be
+thought that in the present work I have given an excess of detail of
+Arabian decoration and ornament, but it has been my aim to provide the
+last word on Moorish art&mdash;so far at least as the pictorial
+representation of it is concerned&mdash;wherever I have dealt with it in
+Spain. To the general reader these reproductions of tracery and
+elaborate detail may seem superfluous, but they will, I trust, lend to
+the book an additional interest in the eyes of students and artists, for
+whose delectation they are included here.</p>
+
+<p class="r">
+A. F. C.<br />
+<span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span><span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" style="margin:auto auto;
+max-width:70%;">
+
+<tr><td>&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+<tr><td valign="top"><span class="smcap"><a href="#THE_CITY_OF_THE_MOOR">The City of the Moor</a></span></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+
+<tr><td valign="top"><span class="smcap"><a href="#THE_ALHAMBRA">The Alhambra</a></span></td><td class="rt" valign="bottom"><a href="#page_25">25</a></td></tr>
+
+<tr><td valign="top"><span class="smcap"><a href="#THE_GENERALIFE">The Generalife</a></span></td><td class="rt" valign="bottom"><a href="#page_61">61</a></td></tr>
+
+<tr><td valign="top"><span class="smcap"><a href="#CATHOLIC_GRANADA">Catholic Granada</a></span></td><td class="rt" valign="bottom"><a href="#page_65">65</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span>&nbsp; </p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0"  style="margin:auto auto;
+max-width:70%;">
+
+<tr><td class="c"><small>TITLE</small></td>
+<td class="rt"><small>PLATE</small></td> </tr>
+<tr><td valign="top" class="pdd"><a href="#plt_001">View of Granada, showing the Alhambra and the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_001">1</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_002">General View of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_002">2</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_003">View of the Alhambra from the Sacromonte Road</a></td><td class="rt" valign="bottom"><a href="#plt_003">3</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_004">The Alhambra from the Moor’s Seat&mdash;La Silla del Moro</a></td><td class="rt" valign="bottom"><a href="#plt_004">4</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_005">General View of the Alhambra from San Nicolás</a></td><td class="rt" valign="bottom"><a href="#plt_005">5</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_006">View of the Gate of Elvira</a></td><td class="rt" valign="bottom"><a href="#plt_006">6</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_007">A View of the Alhambra from the Albaicin (<i>Sketch</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_007">7</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_008">View of the Cathedral and the Alhambra from San Gerónimo</a></td><td class="rt" valign="bottom"><a href="#plt_008">8</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_009">View of the Sierra Nevada from the Carrera de las Angustias</a></td><td class="rt" valign="bottom"><a href="#plt_009">9</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_010">View of the Royal Gate</a></td><td class="rt" valign="bottom"><a href="#plt_010">10</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_011">View from the Tower in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_011">11</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_012">La Plaza Nueva</a></td><td class="rt" valign="bottom"><a href="#plt_012">12</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_013">Monument to Columbus in the Paseo del Salon; the Sierra Nevada in the Distance</a></td><td class="rt" valign="bottom"><a href="#plt_013">13</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_014">The Street of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_014">14</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_015">Arab Silk Market</a></td><td class="rt" valign="bottom"><a href="#plt_015">15</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_016">La Casa de los Tiros</a></td><td class="rt" valign="bottom"><a href="#plt_016">16</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_017">Church of Santa Ana</a></td><td class="rt" valign="bottom"><a href="#plt_017">17</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_018">Limoges Enamel Triptych which belonged to the Gran Capitán. (Provincial Museum, Granada)</a></td><td class="rt" valign="bottom"><a href="#plt_018">18</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_019">Altar in the Church of San Gerónimo</a></td><td class="rt" valign="bottom"><a href="#plt_019">19</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_020">House in the Calle de Darro. The Palacio de Justicia</a></td><td class="rt" valign="bottom"><a href="#plt_020">20</a><span class="pagenum"><a name="plt_xxii" id="plt_xxii">{xxii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_021">The House of Castril</a></td><td class="rt" valign="bottom"><a href="#plt_021">21</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_022">Typical Gypsies and their Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_022">22</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_023">Gypsies in Front of their Dwellings</a></td><td class="rt" valign="bottom"><a href="#plt_023">23</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_024">Gypsy-dwellings in the Sacromonte</a></td><td class="rt" valign="bottom"><a href="#plt_024">24</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_025">General View of the Gypsy Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_025">25</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_026">Interior of a Gypsy’s Cave</a></td><td class="rt" valign="bottom"><a href="#plt_026">26</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_027">Group of Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_027">27</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_028">A Gypsy Family</a></td><td class="rt" valign="bottom"><a href="#plt_028">28</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_029">Gypsies bivouacking</a></td><td class="rt" valign="bottom"><a href="#plt_029">29</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_030">Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_030">30</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_031">Gypsies clipping a Mule</a></td><td class="rt" valign="bottom"><a href="#plt_031">31</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_032">Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_032">32</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_033">Gypsies</a></td><td class="rt" valign="bottom"><a href="#plt_033">33</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_034">Gypsy Dance</a></td><td class="rt" valign="bottom"><a href="#plt_034">34</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_035">Interior of the Sacristy of the Cartuja</a></td><td class="rt" valign="bottom"><a href="#plt_035">35</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_036">Interior of Cartuja: The Sacristy</a></td><td class="rt" valign="bottom"><a href="#plt_036">36</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_037">Interior of the Cartuja Church</a></td><td class="rt" valign="bottom"><a href="#plt_037">37</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_038">Saint Bruno, by Alonso Cano, at the Carthusian Monastery of Granada</a></td><td class="rt" valign="bottom"><a href="#plt_038">38</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_039">Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_039">39</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_040">The Gate of Pardon and the Exterior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_040">40</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_041">Façade of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_041">41</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_042">Exterior Gate of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_042">42</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_043">Detail in the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_043">43</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_044">Ancient Gothic Entrance to the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_044">44</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_045">General Exterior View of the Royal Chapel, Upper Part</a></td><td class="rt" valign="bottom"><a href="#plt_045">45</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_046">General Exterior View of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_046">46</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_047">Façade of the Cathedral. Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_047">47</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_048">General View of the Interior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_048">48</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_049">The Cathedral. General View of the Interior</a></td><td class="rt" valign="bottom"><a href="#plt_049">49</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_050">The Cathedral. View of the Principal Nave</a></td><td class="rt" valign="bottom"><a href="#plt_050">50</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_051">The High Altar in the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_051">51</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_052">Altar-piece in the Royal Chapel, by F. de Borgoña</a></td><td class="rt" valign="bottom"><a href="#plt_052">52</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_053">The Cathedral. Boabdil
+giving up the Keys of Granada to the Catholic Sovereigns. Fragment of the Altar-piece in the Royal Chapel</a><span class="pagenum"><a name="plt_xxiii" id="plt_xxiii">{xxiii}</a></span></td><td class="rt" valign="bottom"><a href="#plt_053">53</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_054">The Inner Choir of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_054">54</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_055">The Cathedral. Tombs of the Catholic Sovereigns in the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_055">55</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_056">View of the Royal Chapel and Tombs of the Catholic Sovereigns, by P. Gonzalvo</a></td><td class="rt" valign="bottom"><a href="#plt_056">56</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_057">Royal Chapel. Tombs of Ferdinand and Isabella</a></td><td class="rt" valign="bottom"><a href="#plt_057">57</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_058">Vault of the Catholic Sovereigns at Granada</a></td><td class="rt" valign="bottom"><a href="#plt_058">58</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_059">Tombs of Ferdinand and Isabella, Doña Juana and Philip the Handsome</a></td><td class="rt" valign="bottom"><a href="#plt_059">59</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_060">Tombs of Ferdinand and Isabella, Doña Juana and Philip the Handsome</a></td><td class="rt" valign="bottom"><a href="#plt_060">60</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_061">Sceptre, Crown, Sword, Mass-book, and Coffer of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_061">61</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_062">Relics of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_062">62</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_063">Royal Chapel: Statue of Queen Isabella the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_063">63</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_064">Statue of Isabella the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_064">64</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_065">Chapel of San Miguel in the Cathedral, Marble Sculpture</a></td><td class="rt" valign="bottom"><a href="#plt_065">65</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_066">Plan of the Alhambra Palace at Granada</a></td><td class="rt" valign="bottom"><a href="#plt_066">66</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_067">General Plan of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_067">67</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_068">General View of the Alhambra from San Nicolás</a></td><td class="rt" valign="bottom"><a href="#plt_068">68</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_069">The Red Towers from the Ramparts</a></td><td class="rt" valign="bottom"><a href="#plt_069">69</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_070">View of the Alhambra from the Sacromonte</a></td><td class="rt" valign="bottom"><a href="#plt_070">70</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_071">General View of the Alhambra and Algibillo Promenade</a></td><td class="rt" valign="bottom"><a href="#plt_071">71</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_072">View of the Alhambra from the Cuesta del Chapiz</a></td><td class="rt" valign="bottom"><a href="#plt_072">72</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_073">The Red Towers</a></td><td class="rt" valign="bottom"><a href="#plt_073">73</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_074">General View of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_074">74</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_075">The Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_075">75</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_076">The Infantas’ Tower and Captive’s Tower</a></td><td class="rt" valign="bottom"><a href="#plt_076">76</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_077">View of the Watch Tower and Granada</a></td><td class="rt" valign="bottom"><a href="#plt_077">77</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_078">View of the Ramparts and the Watch Tower</a></td><td class="rt" valign="bottom"><a href="#plt_078">78</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_079">The Aqueduct Tower and the Aqueduct</a></td><td class="rt" valign="bottom"><a href="#plt_079">79</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_080">The Gate of Justice. Detail of a Door in the Court of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_080">80</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_081">The Alhambra and the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_081">81</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_082">Granada, from the Homage Tower</a></td><td class="rt" valign="bottom"><a href="#plt_082">82</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_083">“The Queen’s Dressing-room,” at the Summit of the Mihrab Tower, with Distant View of the Generalife</a>
+<span class="pagenum"><a name="plt_xxiv" id="plt_xxiv">{xxiv}</a></span></td><td class="rt" valign="bottom"><a href="#plt_083">83</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_084">The Gate of Justice, erected by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_084">84</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_085">The Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_085">85</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_086">The Captive’s Tower</a></td><td class="rt" valign="bottom"><a href="#plt_086">86</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_087">Exterior of the Mosque, Private Property</a></td><td class="rt" valign="bottom"><a href="#plt_087">87</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_088">Tower of the Aqueduct</a></td><td class="rt" valign="bottom"><a href="#plt_088">88</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_089">Ascent to the Alhambra by the Cuesta del Rey Chico&mdash;Lesser King Hill</a></td><td class="rt" valign="bottom"><a href="#plt_089">89</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_090">The Ladies’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_090">90</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_091">Part of the Alhambra, Exterior</a></td><td class="rt" valign="bottom"><a href="#plt_091">91</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_092">The Homage Tower. Ancient Arab Ruins in the Alcazába</a></td><td class="rt" valign="bottom"><a href="#plt_092">92</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_093">Gate of Justice, the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_093">93</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_094">Gate of Justice (<i>Sketch</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_094">94</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_095">The Gate of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_095">95</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_096">Plan, Height, and Details of the Gate of the Law, commonly called of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_096">96</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_097">Elevation of the Ancient Gate of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_097">97</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_098">Portal commonly called the Wine Gate</a></td><td class="rt" valign="bottom"><a href="#plt_098">98</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_099">Porch of the Gate of Judgment</a></td><td class="rt" valign="bottom"><a href="#plt_099">99</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_100">Elevation of the Wine Gate</a></td><td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_101">Transverse Section of Part of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_102">Section showing Heights of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_102">102</a>,&nbsp;<a href="#plt_103">103</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_104">Promenades at the Entrance to the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_104">104</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_105">The Hall of Justice and Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_106">Hall of Justice. Left Side</a></td><td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_107">Hall of Justice, showing Fountain of Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_108">Section of the Hall of Justice (looking East)</a></td><td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_109">Section of the Hall of Justice (looking towards the Court of the Lions)</a></td><td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_110">Vertical Section of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_111">Details of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_112">Plan and Window of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_113">Painting on the Ceiling of the Hall of Justice. No. 1</a></td><td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_114">Painting on the Ceiling of the Hall of Justice. No. 3</a></td><td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_115">Part of Picture in the Hall of Justice&mdash;The Moor’s Return from Hunting</a></td><td class="rt" valign="bottom"><a href="#plt_115">115</a><span class="pagenum"><a name="plt_xxv" id="plt_xxv">{xxv}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_116">Hall of Justice&mdash;The Death of the Lion at the Hands of a Christian Knight</a></td><td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_117">Part of Picture in the Hall of Justice representing a Christian Knight rescuing a Maiden from a wicked Magician, or Wild-Man-o’-the-Woods</a></td><td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_118">Part of Picture in Hall of Justice&mdash;Moorish Huntsman slaying the Wild Boar</a></td><td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_119">Hall of Justice&mdash;Three Figures from the Picture of the Moorish Tribunal</a></td><td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_120">The Mosque and Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_121">Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_122">Façade of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_123">Interior of the Mosque in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_124">Interior of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_125">Elevation of the Portico adjacent to the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_126">Detail of the Entrance Door of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_127">An Arched Window of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_128">An Arched Window of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_128">128</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_129">The Koran Recess in the Mosque, the Scene of Yusuf’s Assassination</a></td><td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_130">The Mosque from Koran Recess</a></td><td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_131">Details of Ornament of Koran Recess near the Entrance Door of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_132">Cornice and Window in the Façade of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_132">132</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_133">Vertical Section of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_134">Arab Lamp in Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_135">Details of the Front of the Mosque of the Harem</a></td><td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_136">Details of Ornament in the Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_137">Details in the Court of the Mosque, Eastern Façade</a></td><td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_138">Ornament in Panels, Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_139">Window in the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_140">Entrance to the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_141">Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_142">Section and Elevation of the Interior of the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_143">Encaustic-tile Work of the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_144">Ornament in Panels, Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_145">Inscriptions in the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_145">145</a><span class="pagenum"><a name="plt_xxvi" id="plt_xxvi">{xxvi}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_146">Kufic Inscriptions, Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_147">“Wa la Ghálib ila Alá”&mdash;There is no Conqueror but God!&mdash;The famous Motto of Mohammed I. and his Successors. An Example from the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_148">The Court of the Lions from the Templete Pomiente</a></td><td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_149">Entrance to the Court of the Lions through the Pomiente Corner</a></td><td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_150">North Gallery and Façade of the Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_151">The Court of the Lions from the Pomiente Corner</a></td><td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_152">View in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_153">View in the Court of the Lions from the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_154">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_155">General View of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_156">Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_157">North Gallery in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_158">Section, Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_159">Pavilion in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_160">Fountain and East Temple in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_161">Hall of Justice and Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_162">Angle in the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_163">Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_163">163</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_164">Ceiling of the Hall of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_164">164</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_165">The Mosque, and View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_166">Exterior of a Window in the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_167">The Mosque, and View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_168">Interior of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_169">Court of the Mosque, West Façade</a></td><td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_170">Interior of the Mosque, converted into a Roman Catholic Church</a></td><td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_171">Interior of the Mosque, converted into a Roman Catholic Church</a></td><td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_172">Jalousies in the Court of the Mosque</a></td><td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_173">Entrance to the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_174">Balcony in the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_175">Detail of the Hall of the Arched Windows</a></td><td class="rt" valign="bottom"><a href="#plt_175">175</a>
+<span class="pagenum"><a name="plt_xxvii" id="plt_xxvii">{xxvii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_176">Detail in the Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_177">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_178">General View of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_179">The Fountain and West Temple of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_180">Elevation of the Fountain of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_181">The Fountain of the Court of the Lions, with Details of the Ornament</a></td><td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_182">Plan of the Basin of the Fountain in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_183">Section of the Pavilion in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_184">Section of the Hall of the Two Sisters, and Section of Part of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_184">184</a>,&nbsp;<a href="#plt_185">185</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_186">Capital in the Court of the Lions, with a Scale of One Metre</a></td><td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_187">Details of the Centre Arcade of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_188">Frieze over Columns, Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_189">Detail of the Central Arch in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_190">The First Six Verses of the Inscription around the Basin of the Fountain of the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_191">Entablature in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_192">Cupola of the Pavilion in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_193">Entrance to the Court of the Lions. Little Temple, the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_193">193</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_194">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_195">The Little Temple, and the Fountain, the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_196">The Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_197">The Court of the Lions, West Angle</a></td><td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_198">Morocco Embassy, December 1885</a></td><td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_199">The Court of the Lions from the West Temple</a></td><td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_200">The Court of the Lions from the West Temple</a></td><td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_201">West Gallery in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_202">The Court of the Lions, Façade of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_203">The Court of the Lions, Left-hand Angle</a></td><td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_204">The Court of the Lions, Façade of the Hall of Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_204">204</a>
+<span class="pagenum"><a name="plt_xxviii" id="plt_xxviii">{xxviii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_205">The Court of the Lions from the Entrance</a></td><td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_206">Detail of the Entrance to the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_207">Detail in the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_207">207</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_208">Mosaics, North and South Sides, the Court of the Lions</a></td><td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_209">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_210">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_211">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_212">Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_213">Wooden Doors, Hall of the Abencerrages</a></td><td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_214">Gallery in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_215">Court of the Myrtles; or, of the Fish-pond. Façade of the Hall of Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_216">Court of the Myrtles; or, of the Fish-pond</a></td><td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_217">General View of the Court of the Myrtles; or, of the Fish-pond</a></td><td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_218">North Side of the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_219">Entrance to the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_220">Gallery in the Court of the Myrtles; or, of the Fish-pond</a></td><td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_221">General View of the Court of the Myrtles and Comares Tower</a></td><td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_222">Court of the Myrtles, East Façade</a></td><td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_223">Detail in the Court of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_224">Court of the Myrtles, East Façade</a></td><td class="rt" valign="bottom"><a href="#plt_224">224</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_225">Exterior of the Gallery in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_225">225</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_226">The Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_227">Ornament in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_227">227</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_228">Court of the Myrtles; or, of the Fish-pond, formed by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_229">The Court of the Fish-pond; or, of the Myrtles. Gallery in the Court of the Fish-pond; or, of the Myrtles</a></td><td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_230">The Hall of the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_230">230</a>
+<span class="pagenum"><a name="plt_xxix" id="plt_xxix">{xxix}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_231">The Sultan’s Bath</a></td><td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_232">The Sultana’s Bath</a></td><td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_233">The Baths, Hall of Repose</a></td><td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_234">Chamber of Repose</a></td><td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_235">Section of the Hall of the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_236">Longitudinal Section through the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_237">Ground Plan of the Baths in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_238">Ceiling of the Hall of the Baths</a></td><td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_239">Plan and Section of the great Cistern in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_240">A Section of the Baths in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_241">Chamber of Repose. Sultan’s Bath constructed by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_242">Interior of the Infantas’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_242">242</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_243">Sections of the Infantas’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_244">Interior of the Tower of the Infantas, Upper Part</a></td><td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_245">Balcony of the “Captive” (Isabel de Solis), overlooking the Vega, or Plain, of Granada</a></td><td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_246">Alcove of the “Captive” (Isabel de Solis)</a></td><td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_247">Interior of the Tower of the “Captive” (Isabel de Solis)</a></td><td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_248">The “Captive’s” Tower from the Entrance</a></td><td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_249">Interior of the Mosque. Room in the “Captive’s” Tower</a></td><td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_250">Hall of Justice. Baths, the Chamber of Repose</a></td><td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_251">Balcony of the Favourite, “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_252">Alcove in the “Lindaraja” Apartments</a></td><td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_253">Garden of “Lindaraja,” and the Apartments traditionally said to have been occupied by “Lindaraja,” a favourite Sultana</a></td><td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_254">Detail, Interior of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_255">Detail, Lower Part of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_256">Detail of the Central Part of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_257">The Queen’s Boudoir and Distant View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_258">The Queen’s Boudoir and View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_258">258</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_259">The Queen’s Boudoir and old Albaicin Quarter</a></td><td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_260">The Queen’s Boudoir and Defile of the Darro</a></td><td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_261">“Lindaraja’s” Garden and the Apartments in which
+Washington Irving stayed</a></td><td class="rt" valign="bottom"><a href="#plt_261">261</a>
+<span class="pagenum"><a name="plt_xxx" id="plt_xxx">{xxx}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_262">Angle of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_263">Balcony of the favourite “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_264">Interior of the Tower of the Captive, Isabel de Solis</a></td><td class="rt" valign="bottom"><a href="#plt_264">264</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_265">Exterior of the Captive’s Tower</a></td><td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_266">The Tower of the Captive, Isabel de Solis</a></td><td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_267">Interior of the Infantas’ Tower, Upper Part</a></td><td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_268">Interior of the Infantas’ Tower</a></td><td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_269">Detail of the Upper Part of the Balcony of “Lindaraja”</a></td><td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_270">Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_271">Entrance to the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_272">Interior of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_272">272</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_273">Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_274">Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_275">Temple and Façade of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_276">View in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_277">Hall of the Two Sisters from the Entrance Door, built by Yúsuf I.</a></td><td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_278">Upper Balcony of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_278">278</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_279">Hall of the Two Sisters from the Entrance Door</a></td><td class="rt" valign="bottom"><a href="#plt_279">279</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_280">Ceiling of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_280">280</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_281">Detail of the Upper Story, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_281">281</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_282">Detail of the Lateral Windows of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_282">282</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_283">Detail in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_283">283</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_284">Panel, Ornament, and Inscriptions in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_284">284</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_285">Inscription in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_285">285</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_286">Frieze in the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_286">286</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_287">Panel on Jambs of Doorways, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_287">287</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_288">Details of the Glazed Tiles in the Dado of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_288">288</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_289">Band round Panels in Windows, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_289">289</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_290">Mosaic in Dado of Recess. Mosaic in Dado of the Entrance to the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_290">290</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_291">Mosaic in Dado of Hall of Ambassadors. Mosaic in Dado of the Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_291">291</a>
+<span class="pagenum"><a name="plt_xxxi" id="plt_xxxi">{xxxi}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_292">Wine Gate. West Façade</a></td><td class="rt" valign="bottom"><a href="#plt_292">292</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_293">Detail of the only ancient “Jalousie” remaining in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_293">293</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_294">El Jarro. Arab Vase now in the Museum of the Palace</a></td><td class="rt" valign="bottom"><a href="#plt_294">294</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_295">El Jarro. The Arabian Vase and Niche in which it formerly stood, Hall of the Two Sisters</a></td><td class="rt" valign="bottom"><a href="#plt_295">295</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_296">An Arab Vase of the Fourteenth Century in the Niche wherein it stood until the Year 1837</a></td><td class="rt" valign="bottom"><a href="#plt_296">296</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_297">Sword of the last Moorish King of Granada, commonly called “The Sword of Boabdil”</a></td><td class="rt" valign="bottom"><a href="#plt_297">297</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_298">The Surrender of Granada by Boabdil to Ferdinand and Isabella, January 2, 1492</a></td><td class="rt" valign="bottom"><a href="#plt_298">298</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_299">Gold Coin (obverse and reverse) of Mohammed I., the Founder of the Alhambra, who reigned 1232-1272 <small>A.D.</small></a></td><td class="rt" valign="bottom"><a href="#plt_299">299</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_300">Details and Inscriptions, and Arabian Capitals</a></td><td class="rt" valign="bottom"><a href="#plt_300">300</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_301">The Gothic Inscription set up in the Alhambra by the Count of Tendilla, to commemorate the Surrender of the Fortress in 1492</a></td><td class="rt" valign="bottom"><a href="#plt_301">301</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_302">Mosaic Pavement in the Queen’s Dressing-room (Tocador de la Reyna.)    Mosaic, from a Fragment in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_302">302</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_303">The House of Carbon</a></td><td class="rt" valign="bottom"><a href="#plt_303">303</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_304">The ancient Granary Market and House of Carbon</a></td><td class="rt" valign="bottom"><a href="#plt_304">304</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_305">Elevation of the Casa del Carbon, or House of Carbon, once known as the House of the Weathercock</a></td><td class="rt" valign="bottom"><a href="#plt_305">305</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_306">Courtyard of a Moorish House in the Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_306">306</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_307">Interior of an Arab House in the Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_307">307</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_308">The Proclamation of Boabdil. By Plácido Frances (National Exhibition of Beaux Arts, 1884)</a></td><td class="rt" valign="bottom"><a href="#plt_308">308</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_309">The Author in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_309">309</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_310">Cornices, Capitals, and Columns in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_310">310</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_311">Miscellaneous Ornament in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_311">311</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_312">The Fable of Jupiter and Leda in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_312">312</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_313">Bas-relief, now in the Museum of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_314">Arabian Sword</a></td><td class="rt" valign="bottom"><a href="#plt_314">314</a>
+<span class="pagenum"><a name="plt_xxxii" id="plt_xxxii">{xxxii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_315">Capitals from the Courts and Halls of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_315">315</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_316">Encaustic-tile Work in the Royal Room of Santo Domingo</a></td><td class="rt" valign="bottom"><a href="#plt_316">316</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_317">Various Mosaics from the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_317">317</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_318">Inscriptions in the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_318">318</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_319">Plan of the Palace of Charles V. and of the Subterranean Vaults of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_319">319</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_320">General View of the Alhambra from the Homage Tower</a></td><td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_321">Ancient Cistern. Early Fourteenth Century</a></td><td class="rt" valign="bottom"><a href="#plt_321">321</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_322">The Alhambra (<i>Specially drawn for the Spanish Series</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_322">322</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_323">Part of Exterior of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_323">323</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_324">Elevation of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_324">324</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_325">Section of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_325">325</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_326">Fountain of the Emperor Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_326">326</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_327">View of the Alhambra from the Homage Tower</a></td><td class="rt" valign="bottom"><a href="#plt_327">327</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_328">Interior of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_328">328</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_329">Doorway of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_329">329</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_330">Bas-relief in the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_330">330</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_331">Porch of the Palace of Charles V. from the West</a></td><td class="rt" valign="bottom"><a href="#plt_331">331</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_332">Roman Court, Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_332">332</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_333">Ground Plan of the Generalife at Granada</a></td><td class="rt" valign="bottom"><a href="#plt_333">333</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_334">The Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_334">334</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_335">The Principal Court of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_335">335</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_336">The Court of the Fish-pond in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_336">336</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_337">Promenades and Gardens of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_337">337</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_338">The Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_338">338</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_339">Front View of the Portico of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_339">339</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_340">Transverse Section of the Royal Villa of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_340">340</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_341">Gallery in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_341">341</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_342">The Generalife. Gallery in the Acequia Court</a></td><td class="rt" valign="bottom"><a href="#plt_342">342</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_343">The Generalife.   Entrance to the Portrait Gallery</a></td><td class="rt" valign="bottom"><a href="#plt_343">343</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_344">Garden of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_344">344</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_345">Elevation of the Portico of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_345">345</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_346">The Acequia Court in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_346">346</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_347">A Corner of the Acequia Court in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_347">347</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_348">Cypress Court. A Corner in the Acequia Court</a></td><td class="rt" valign="bottom"><a href="#plt_348">348</a>
+<span class="pagenum"><a name="plt_xxxiii" id="plt_xxxiii">{xxxiii}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_349">The Cypress of the Sultana in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_349">349</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_350">A Ceiling in the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_350">350</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_351">The Generalife. The Acequia Court from the Main Entrance</a></td><td class="rt" valign="bottom"><a href="#plt_351">351</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_352">The Generalife.    The Acequia Court from the Interior</a></td><td class="rt" valign="bottom"><a href="#plt_352">352</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_353">Exterior View of the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_353">353</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_354">Entrance to the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_354">354</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_355">The Generalife. Court of the Sultana’s Cypress</a></td><td class="rt" valign="bottom"><a href="#plt_355">355</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_356">The Generalife. The Acequia Court from the Interior</a></td><td class="rt" valign="bottom"><a href="#plt_356">356</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_357">South Façade of the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_357">357</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_358">Bas-relief in the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_358">358</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_359">Bas-relief in the Palace of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_359">359</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_360">Gate of the Granadas</a></td><td class="rt" valign="bottom"><a href="#plt_360">360</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_361">Promenades and Hotels of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_361">361</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_362">The Gate of Justice and Fountain of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_362">362</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_363">Environs of the Alhambra. Fountain of Charles V.</a></td><td class="rt" valign="bottom"><a href="#plt_363">363</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_364">Gate of Justice. Principal Entrance to the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_364">364</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_365">Gate of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_365">365</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_366">Wine Gate. East Façade</a></td><td class="rt" valign="bottom"><a href="#plt_366">366</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_367">Environs of the Alhambra. Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_367">367</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_368">Tower of the Peaks</a></td><td class="rt" valign="bottom"><a href="#plt_368">368</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_369">General View of the Alhambra from the Silla del Moro</a></td><td class="rt" valign="bottom"><a href="#plt_369">369</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_370">General View of the Alhambra from the Gypsy Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_370">370</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_371">General View of the Alhambra from the Generalife</a></td><td class="rt" valign="bottom"><a href="#plt_371">371</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_372">View of Granada and the Alhambra from the Sacromonte</a></td><td class="rt" valign="bottom"><a href="#plt_372">372</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_373">General View of the Alhambra from San Nicolas</a></td><td class="rt" valign="bottom"><a href="#plt_373">373</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_374">The Watch Tower, the Cathedral, and Granada</a></td><td class="rt" valign="bottom"><a href="#plt_374">374</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_375">Villas on the Banks of the River Darro</a></td><td class="rt" valign="bottom"><a href="#plt_375">375</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_376">A View of the Alhambra</a></td><td class="rt" valign="bottom"><a href="#plt_376">376</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_377">Villas on the Banks of the River Darro</a></td><td class="rt" valign="bottom"><a href="#plt_377">377</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_378">The Watch Tower and Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_378">378</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_379">The Red Tower</a></td><td class="rt" valign="bottom"><a href="#plt_379">379</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_380">The Homage Tower and Gypsy Quarters: exterior of their Caves</a></td><td class="rt" valign="bottom"><a href="#plt_380">380</a>
+<span class="pagenum"><a name="plt_xxxiv" id="plt_xxxiv">{xxxiv}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_381">Carrera del Rio Darro</a></td><td class="rt" valign="bottom"><a href="#plt_381">381</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_382">The Gate of Elvira. The old Entrance to the Fortifications</a></td><td class="rt" valign="bottom"><a href="#plt_382">382</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_383">Washing Place in the Puerta del Sol</a></td><td class="rt" valign="bottom"><a href="#plt_383">383</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_384">Courtyard of an Arab House</a></td><td class="rt" valign="bottom"><a href="#plt_384">384</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_385">A Moorish Archway</a></td><td class="rt" valign="bottom"><a href="#plt_385">385</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_386">Interior of an old House in the Calle del Horno de Oro</a></td><td class="rt" valign="bottom"><a href="#plt_386">386</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_387">Interior of an old House in the Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_387">387</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_388">The Cathedral and General View</a></td><td class="rt" valign="bottom"><a href="#plt_388">388</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_389">General View of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_389">389</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_390">General View of the Exterior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_390">390</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_391">Entrance to the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_391">391</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_392">Exterior of the Royal Chapel of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_392">392</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_393">Detail of the Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_393">393</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_394">Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_394">394</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_395">Exterior of the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_395">395</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_396">Exterior of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_396">396</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_397">Exterior of the Cathedral. The Gate of Pardon</a></td><td class="rt" valign="bottom"><a href="#plt_397">397</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_398">Gothic Pinnacle on the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_398">398</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_399">The Cathedral. View from the Choir</a></td><td class="rt" valign="bottom"><a href="#plt_399">399</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_400">The   Cathedral. General View of the Chancel and High Altar</a></td><td class="rt" valign="bottom"><a href="#plt_400">400</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_401">Bas-relief in the Altar-piece of the Royal Chapel</a></td><td class="rt" valign="bottom"><a href="#plt_401">401</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_402">General View of the Chancel in the Cathedral</a></td><td class="rt" valign="bottom"><a href="#plt_402">402</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_403">The Royal Chapel. Sepulchre of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_403">403</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_404">The Royal Chapel. Detail of the Sepulchre of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_404">404</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_405">The Royal Chapel. Sculpture of King Ferdinand the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_405">405</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_406">Sepulchre of Ferdinand</a></td><td class="rt" valign="bottom"><a href="#plt_406">406</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_407">Sepulchre of Isabella the Catholic</a></td><td class="rt" valign="bottom"><a href="#plt_407">407</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_408">Portal of the Church of San Juan de Dios</a></td><td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_409">Sepulchre of Alonso Caño in San Gerónimo</a></td><td class="rt" valign="bottom"><a href="#plt_409">409</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_410">Head of John the Baptist</a></td><td class="rt" valign="bottom"><a href="#plt_410">410</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_411">Head of John the Baptist</a></td><td class="rt" valign="bottom"><a href="#plt_411">411</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_412">Head of John the Baptist</a></td><td class="rt" valign="bottom"><a href="#plt_412">412</a>
+<span class="pagenum"><a name="plt_xxxv" id="plt_xxxv">{xxxv}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_413">Exterior of the Cartuja Monastery</a></td><td class="rt" valign="bottom"><a href="#plt_413">413</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_414">Sacristy in the Cartuja, Left Side</a></td><td class="rt" valign="bottom"><a href="#plt_414">414</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_415">Sacristy in the Cartuja, Right Side</a></td><td class="rt" valign="bottom"><a href="#plt_415">415</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_416">Cartuja. Sancta Sanctorum</a></td><td class="rt" valign="bottom"><a href="#plt_416">416</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_417">Cartuja. Detail of the Cupboards in the Sacristy</a></td><td class="rt" valign="bottom"><a href="#plt_417">417</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_418">Altars in the Cartuja. Pictures by Sanchez y Cotán, a Monk of the Order</a></td><td class="rt" valign="bottom"><a href="#plt_418">418</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_419">Cartuja. The Immaculate Conception. By Murillo</a></td><td class="rt" valign="bottom"><a href="#plt_419">419</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_420">Cartuja. The Virgin of the Rosary. By Murillo</a></td><td class="rt" valign="bottom"><a href="#plt_420">420</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_421">Cartuja. St. Joseph and the Child. Sculpture by Alonso Caño</a></td><td class="rt" valign="bottom"><a href="#plt_421">421</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_422">Cartuja. St. Mary Magdalene. Sculpture by Alonso Caño</a></td><td class="rt" valign="bottom"><a href="#plt_422">422</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_423">Cartuja. Horsemen hanging Martyrs. By Sanchez Cotán</a></td><td class="rt" valign="bottom"><a href="#plt_423">423</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_424">Cartuja. The Baptism of Our Lord. By Sanchez Cotán</a></td><td class="rt" valign="bottom"><a href="#plt_424">424</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_425">Cartuja. The Holy Family. By Sanchez Cotán</a></td><td class="rt" valign="bottom"><a href="#plt_425">425</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_426">The Crucifixion of Our Lord. By Morales</a></td><td class="rt" valign="bottom"><a href="#plt_426">426</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_427">The Conception of Our Lady. By Morales</a></td><td class="rt" valign="bottom"><a href="#plt_427">427</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_428">The Gypsy Quarters. Exterior of the Caves</a></td><td class="rt" valign="bottom"><a href="#plt_428">428</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_429">The Gypsy Quarters. An “At Home”</a></td><td class="rt" valign="bottom"><a href="#plt_429">429</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_430">Gypsy Dance in their Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_430">430</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_431">Gypsy Types at the Doors of their Caves</a></td><td class="rt" valign="bottom"><a href="#plt_431">431</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_432">Gypsy Dance in their Quarters</a></td><td class="rt" valign="bottom"><a href="#plt_432">432</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_433">Gypsy Dancers and their Captain, J. Amaya</a></td><td class="rt" valign="bottom"><a href="#plt_433">433</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_434">Bridge of the Genil</a></td><td class="rt" valign="bottom"><a href="#plt_434">434</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_435">General View</a></td><td class="rt" valign="bottom"><a href="#plt_435">435</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_436">General View of the old Albaicin</a></td><td class="rt" valign="bottom"><a href="#plt_436">436</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_437">General View from the Watch Tower</a></td><td class="rt" valign="bottom"><a href="#plt_437">437</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_438">Old Arab Palace, now the Property of a Spanish Nobleman</a></td><td class="rt" valign="bottom"><a href="#plt_438">438</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_439">The old Town Hall</a></td><td class="rt" valign="bottom"><a href="#plt_439">439</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_440">The Royal Gate and Street of the Catholic Sovereigns</a></td><td class="rt" valign="bottom"><a href="#plt_440">440</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_441">Monument to Columbus in the Paseo del Salon</a></td><td class="rt" valign="bottom"><a href="#plt_441">441</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_442">The Raw Silk Market</a></td><td class="rt" valign="bottom"><a href="#plt_442">442</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_443">The Raw Silk Market. Ancient Arab Silk Market</a></td><td class="rt" valign="bottom"><a href="#plt_443">443</a>
+<span class="pagenum"><a name="plt_xxxvi" id="plt_xxxvi">{xxxvi}</a></span></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_444">Exterior of an old House, Cuesta del Pescado</a></td><td class="rt" valign="bottom"><a href="#plt_444">444</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_445">The Court of Justice</a></td><td class="rt" valign="bottom"><a href="#plt_445">445</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_446">Carrera del Darro</a></td><td class="rt" valign="bottom"><a href="#plt_446">446</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_447">Market and Gypsy Fair in the Triunfo</a></td><td class="rt" valign="bottom"><a href="#plt_447">447</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_448">Calle de San Anton</a></td><td class="rt" valign="bottom"><a href="#plt_448">448</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_449">Antequeruela Quarter, Sierra Nevada, and the “Last Sigh of the Moor”</a></td><td class="rt" valign="bottom"><a href="#plt_449">449</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_450">Carrera de Genil and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_450">450</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_451">Plaza de Mariana Pineda, Arab House, and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_451">451</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_452">General View of the Alhambra and of the Sierra Nevada from St. Michael</a></td><td class="rt" valign="bottom"><a href="#plt_452">452</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_453">Huétor High Road and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_453">453</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_454">Villas on the Borders of the River Darro</a></td><td class="rt" valign="bottom"><a href="#plt_454">454</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_455">Defile of the Darro</a></td><td class="rt" valign="bottom"><a href="#plt_455">455</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_456">The Green Bridge and View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_456">456</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_457">View of the Sierra Nevada</a></td><td class="rt" valign="bottom"><a href="#plt_457">457</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_458">General View of the Sierra Nevada and the River Genil</a></td><td class="rt" valign="bottom"><a href="#plt_458">458</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_459">Granada. (<i>Specially drawn for the Spanish Series</i>)</a></td><td class="rt" valign="bottom"><a href="#plt_459">459</a></td></tr>
+
+<tr><td valign="top" class="pdd"><a href="#plt_460">Arms of Granada</a></td><td class="rt" valign="bottom"><a href="#plt_460">460</a></td></tr>
+
+<tr><td valign="top"><a href="#page_89">Plan of Granada</a></td><td class="rt" valign="bottom"><a href="#page_89"><i>Page</i> 89</a></td></tr>
+
+</table>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h2><a name="GRANADA" id="GRANADA"></a><b>G R A N A D A</b><br />
+<small><a name="THE_CITY_OF_THE_MOOR" id="THE_CITY_OF_THE_MOOR"></a>THE CITY OF THE MOOR</small></h2>
+
+<p class="nind"><span class="smcap">Granada</span> is the creation of the Moors. Its history is all of them&mdash;the
+record of their glory and their fall. The Pomegranate, as its conqueror
+styled it, ripened only in the warm sunshine of Islam, and withered with
+its decline. Under the Christian, it fell from the rank of a splendid
+capital to a poor provincial town. Now it subsists merely as a great
+monument to a vanished race and a dead civilisation.</p>
+
+<p>With Granada before it became the centre of an independent kingdom, we
+need concern ourselves but little. Its real interest dates from the
+establishment of the Nasrite dynasty in the first half of the thirteenth
+century. It was the time when the great Almohade Empire was breaking up.
+Probably all Andalusia would have shared the fate of Cordova and
+Seville, and the conquests of the Catholic kings been anticipated by two
+centuries, had not a young man of Arjona, Ibn Al Ahmar by name,
+determined to fashion for himself a kingdom out of<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> the fragments of
+empire. With an ever-increasing following, he seized upon Jaen in 1232,
+and obtained possession of Granada itself in 1237. City after city
+opened its gates to him, including Malaga and Almeria, and in 1241 he
+was recognised as Lord and Sultan of all the territory between the
+Sierra Morena and the Pillars of Hercules, from Ronda to Baza.</p>
+
+<p>A great man, in every sense, was this founder of the Nasrite dynasty.
+His presence was fine and commanding, his manner bland and amiable, his
+courage worthy of the heroic age. For all his valour and prowess on the
+battlefield, no monarch prized peace more highly. He proved himself a
+true national hero and the father of his people. He fostered industry
+and agriculture, was a patron, like all his race, of arts and letters,
+and encouraged immigration by every means in his power. A far-sighted
+statesman, he perceived that a state so limited in area as his own could
+only hope to exist by virtue of an unusual density of population, and he
+offered every inducement to Muslims from the provinces conquered by the
+Christians to settle within his dominions. Granada was the last hope of
+Islam in Europe, and he resorted to all possible means to safeguard it.
+He concluded alliances with the rulers of Morocco, Tlemsen, and Tunis,
+and even of distant Baghdad. Above all, he neglected no means<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> of
+humouring and conciliating the irresistible Castilian. He negotiated an
+alliance with Fernando III., binding himself to attend the Cortes (a
+curious stipulation for a Mohammedan) and to attend the king in his wars
+with 1500 lances. This latter part of the bargain he was speedily called
+upon to fulfil, and against his own co-religionists of Seville. It
+seemed an unnatural warfare, but, to palliate the iniquity, let it be
+said that Ibn Al Ahmar probably looked upon the Almohade citizens of
+Ishbiliah as heretics. At all events, whether his conscience approved
+his action or not, he contributed in no small measure to Fernando’s
+success, and was hailed enthusiastically as a conqueror upon his return
+to Granada. That the assistance he rendered was not looked upon as
+altogether voluntary by the people of Seville is shown by the fact that
+thousands of them migrated to his dominions and settled there.</p>
+
+<p>Ibn Al Ahmar dreaded the might of Castile. The only hope for the
+Mohammedans of Spain lay, he knew, in rest and consolidation. Careful
+not to give offence to his dreaded neighbour, he courteously received
+the revolted and exiled Infante Don Enrique when he sought refuge at
+Granada, but sent him on to Tunis with letters recommending him to the
+Sultan of that country. All his diplomacy, however, could not avert a<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>
+war with Alfonso, and to add to his troubles, the Walis of Guadix,
+Malaga, and Gomares revolted against his authority. But an insurrection
+soon after broke out in Castile, and Alfonso was compelled to leave the
+Walis to fight their own battles. Ibn Al Ahmar, an old man of eighty
+years, wearily girded on his armour for another of the campaigns he had
+learned to hate. But his time for rest had come at last. A few miles
+beyond the gates of his capital, his charger threw him, as he rode at
+the head of his army. He breathed his last at sundown, by the roadside,
+surrounded by his weeping warriors. It was a dark night for Granada.</p>
+
+<p>Al Ahmar’s son, under the style of Mohammed II., succeeded him at the
+age of thirty-eight years, on January 21, 1273. Arabic historians have
+lavished their encomiums upon him, as indeed upon most of his dynasty.
+He is described as a warrior and a statesman, as a man of letters and a
+poet of considerable ability. During his reign of twenty-nine years, he
+was almost continuously at war. Soon after his accession he crushed the
+rebel Walis at Antequera, and then paid a visit to Alfonso X. at
+Seville, with a view to detaching the Castilian king from his alliance
+with the defeated insurgents. In this he was successful. Queen Violante,
+however, at the conclusion of his visit, asked of him a boon,<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> which,
+according to the custom of the times, as a true knight, he was bound to
+grant. He then discovered, too late, that he had been tricked into
+granting a year’s truce to the Walis. Smouldering with rage, he returned
+to Granada and spent the year in maturing plans for the complete
+overthrow of his enemies. This he effected with the aid of the Sultan
+Yusuf of Morocco, whose army of 100,000 men landed at Tarifa in 1275.
+The Africans, as on previous occasions in Moorish history, proved
+dangerous allies. Mohammed found himself embroiled in a long and
+absolutely unprofitable war with Castile, and had the mortification of
+seeing the Africans possess themselves of Algeciras, Tarifa, and Malaga.
+He recovered possession of the latter town by bribing the governor to
+exchange it for the town of Salobreña, to be held as a personal
+acquisition; and rid himself at last of the troublesome Africans by
+means of an alliance with Sancho of Castile. But in 1302 we find him
+again at war with the Christians, fighting against whom he died.</p>
+
+<p>Mohammed III. was the worthy son of his father, and is specially
+commended for his indefatigable energy. He took a short way with
+traitors, even for those rough times. Ibn Nasr, the governor of Guadix,
+having been removed from his office by the Sultan, exerted himself<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> to
+form a faction in his favour. Mohammed III., hearing of this, summoned
+him to court, and had him slain there and then in his presence. A more
+honourable exploit was his conquest of the town of Ceuta, opposite
+Gibraltar, in the year 1306. With the rich spoils of the foray, he built
+a magnificent mosque at Granada, resplendent with gold and silver,
+jasper and marble. His success perhaps excited the jealousy of the
+Catholic powers. Attacked on either side by the Kings of Castile and
+Aragon, he was forced to conclude a humiliating peace. On his return to
+his capital he was seized in the Alhambra itself by a band of
+conspirators and forced to abdicate in favour of his brother, Muley
+Nasr. The new Sultan began his reign with some military successes
+(1309). He forced Jaime of Aragon to raise the siege of Almeria; but as
+a set-off, he had to deal with conspiracies and rebellions at home, the
+most formidable of these being headed by his nephew, Abu-l-Walid. In the
+midst of these complications a curious incident occurred. Nasr was
+stricken with apoplexy and left for dead. His deposed brother, Mohammed
+III., was then released by some courtiers and brought to Granada, only
+to find that the usurper had recovered his health and his crown. The
+luckless Mohammed did not long survive his partisans’ mistake. But
+retribution speedily<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> overtook his brother. He was forced to yield to
+Abu-l-Walid, and was glad to be allowed to retire to Guadix, the
+sovereignty of which was allotted to him. Usurper though he was, Nasr
+conducted himself with the dignity of a philosopher. His rival’s triumph
+chagrined him not at all, and when invited by Pedro I. to join him in an
+attack on Granada, he patriotically declined. He was a brave man, who
+did not complain at meeting the fate to which he had subjected others.</p>
+
+<p>The new monarch of Granada, Abu-l-Walid Ismail, was a fighter and a
+fanatic. He was fond of saying that he believed only in God and his good
+sword. His faith in the latter weapon was justified. He annihilated a
+Spanish army which had approached Granada, among the slain being the
+Infantes, Don Juan and Don Pedro; and carrying his victorious arms
+eastwards, wrested Baza and Martos from the enemies of his race. But
+others also reposed their faith in the sword. Like another Agamemnon, he
+appropriated a beautiful captive, the prize of the young Mohammed of
+Algeciras. Three days after his triumphal entry into his capital he fell
+at the gates of the Alhambra, a victim to the poniard of the man he had
+injured. Perceiving his sovereign to be at the point of death and
+resolving to avert the horrors of a disputed succession, the Wizir
+summoned the chief men of Granada to<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> the palace, and announced that
+Abu-l-Walid was recovering from his wounds. The royal order was that all
+present should take the oath to the boy-prince, Muley Mohammed Ben
+Ismail, as successor to the kingdom. When this command had been obeyed,
+the wily Wizir announced the death of Abu-l-Walid and the accession of
+Mohammed IV. This was in the year 1325.</p>
+
+<p>When he had freed himself from the control of an unpopular regent, the
+young Sultan displayed qualities of heart and mind in no way inferior to
+those of his progenitors. It must be admitted that Arab historians have
+been somewhat too partial to this line of kings, for there is hardly one
+who is not described more or less explicitly as a paragon of all the
+virtues. Mohammed IV. had to fight hard to hold his own against the
+Spaniards on one side and the Africans on the other. He took Gibraltar,
+and lost it again to Abu-l-Hasan of Fez. But the African king was soon
+after obliged to ask his help to hold the fortress against the
+Christians. Mohammed generously responded to the appeal, fell like a
+thunderbolt upon the Spanish camp, and raised the siege. He was ill
+repaid. In August 1333, he was imprudent enough to reproach his African
+allies with their inability to hold the fortress; and a day or two
+later, having sent his army<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> home, made an excursion to the summit of
+the Rock. He was followed by some among those he had reproached, and
+quickly despatched by their poniards. His body, naked and mangled, was
+found at the foot of the Rock, and conveyed to Malaga. No attempt seems
+to have been made to identify or to punish his murderers.</p>
+
+<p>The ill-fated Mohammed was succeeded by his brother, Yusuf I.,
+Abu-l-Hejaj. While possessed, of course, of the virtues which seem to
+have been inherent in the Nasrite dynasty, this prince was exceptional
+in being an ardent, almost a passionate, lover of peace. He believed,
+says Don Francisco Pi Margall, that it was more glorious to remedy evils
+than to attempt perilous enterprises. Assisted by his able Wizir,
+Redwân, he revised the laws and purified the administration of justice.
+He built a magnificent palace at Malaga, and the great aljama or mosque
+at Granada, of which no trace remains. Abandoning for once his settled
+policy, he joined the Africans in a war against Castile. He was badly
+beaten, and was glad to negotiate a truce of ten years. At the end of
+that time, Alfonso of Castile died, and the Sultan of Granada was
+stabbed to death by a madman, while at his prayers in the mosque, in the
+year 1354.</p>
+
+<p>Mohammed V. was as virtuous and as unfortunate as his father. He had
+reigned but four<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> years when he was attacked in his own palace by the
+partisans of his half-brother, Ismail. Narrowly escaping death, he fled
+to his harem, and in the disguise of a slave eluded his pursuers and
+made his way to Guadix. Ismail II. ran a brief and inglorious career,
+and was dethroned and slain (1360) by the “Red King,” Abu Saïd.
+Meantime, Pedro I. of Castile espoused the cause of the lawful sultan
+and invaded the territory of Granada. But the magnanimous Moor would not
+consent to remount the throne at the cost of his people’s blood. Pedro
+accordingly withdrew, but freed Mohammed from his enemies by murdering
+Abu Saïd when the latter incautiously paid a visit to Seville. Mohammed
+was reinstated on his throne, and mindful of the services rendered him
+by Pedro, advanced to his support with a Grenadine army against Enrique
+de Trastamara. The tragedy of Montiel made a continuance of the struggle
+useless, and the Moorish sultan devoted the remainder of his reign to
+improving the condition of his subjects. He founded charitable
+institutions and asylums, and raised Granada to a high pitch of
+prosperity. The city, according to the contemporary writer, El Khattib,
+became the metropolis of the Mediterranean, the emporium of commerce,
+and the common fatherland of all nations. Under Mohammed V., the kingdom
+may be considered<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> to have reached its zenith. Thence to its nadir we
+count but a century of years.</p>
+
+<p>Yusuf II., who succeeded his father in 1391, was so averse to war that
+his subjects suspected him of Christian sympathies. His son rose against
+him, and the pacific monarch was disposed to abdicate rather than draw
+the sword. The exhortations of the Moroccan ambassador induced him to
+take a manlier course, and putting himself at the head of the army
+lately arrayed against him, he ravaged Murcia with fire and sword. It
+was against this peace-loving sultan that Don Martin de la Barbuda, the
+Quixotic Master of Calatrava, directed his wild expedition&mdash;defeated, of
+course, and emphatically disavowed by Enrique III. of Castile. Yusuf’s
+younger son and successor, Mohammed VII.,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> was a prince of a very
+different stamp. Accompanied by only twenty-five horsemen, he penetrated
+to Toledo, and negotiated in the heart of Castile with Enrique III. The
+peace thus concluded was soon interrupted, and Mohammed was quickly
+waging war throughout the length and breadth of Andalusia. The war
+continued with varying fortunes, and was carried on, as was usual in
+those days, by a series of forays, neither side<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> making any determined
+effort to take the other’s capital or to secure his conquests. On
+feeling his end approaching, the warlike Sultan bethought him of his
+elder brother, Yusuf, whom he had confined in the castle of Salobreña.
+Fearing that the captive might now supplant his own son, Mohammed sent a
+messenger to command his execution. Yusuf was playing chess with the
+governor of the castle when the fatal mandate arrived. He asked leave of
+the emissary to finish the game, and before he had made the final move,
+the news arrived of the death of Mohammed and of his proclamation as
+Sultan of Granada. Yusuf showed himself as calm and unmoved at his
+accession to the throne as when he had stood upon the threshold of
+death.</p>
+
+<p>As peaceably disposed as his father, Yusuf III. had to withstand some of
+the most determined assaults upon his doomed kingdom. In his reign took
+place the celebrated siege of Antequera by the Castilians, the survivors
+of which founded the suburb of Antequeruela adjacent to Granada. Yusuf
+ultimately found peace and a valuable ally as the outcome of a strange
+story of fraternal animosity. The people of Gibraltar revolted against
+Granada and proclaimed themselves the subjects of Fez. The Sultan of
+that realm sent his hated brother, Abu Saïd, to take possession of the
+town, and treating him as David<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> did Uriah, left him at the mercy of the
+enemy. Yusuf, however, treated the captured prince with generosity, and
+showed him a letter which he shortly after received from the Sultan of
+Fez, requesting that he might be poisoned. Thirsting for vengeance, Abu
+Saïd procured arms and soldiers at Granada, and, invading Morocco, drove
+his perfidious brother from the throne. Thereafter he was the sworn ally
+of the Sultan of Granada, whom Castile and Aragon no longer ventured to
+trouble. Yusuf III. passed away in 1417.</p>
+
+<p>The history of Granada is henceforward one of almost continuous
+revolution and tumult. Mohammed VIII. was driven into exile by a
+namesake reckoned as the ninth of his name, and then restored by a
+counter-revolution. A Castilian army ravaged the Vega up to the walls of
+the capital. Granada itself would have fallen, had not Juan II. and the
+great Constable, Alvaro de Luna, been recalled to Castile by the
+disorders which resulted in the latter’s overthrow. An earthquake
+desolated the distracted kingdom; and we may suppose that Mohammed VIII.
+was not altogether sorry when he abandoned his throne to a pretender and
+fled to Malaga.</p>
+
+<p>The new sultan, Yusuf IV., held his throne as a fief of Castile, the
+support of which he had to purchase with humiliating concessions. He<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>
+anticipated inevitable assassination by dying after sixteen months of
+authority; and for the third time, Mohammed VIII. was proclaimed at
+Granada (1432). Hostilities with Castile were at once renewed. This time
+the fortune of war was with the Moors, who routed their opponents at
+Illora, Archidona, and Castril. But Mohammed VIII.’s star was never long
+in the ascendant. He quarrelled with the powerful family of the
+Abencerrages; and, deprived of their support, was finally expelled from
+his kingdom, by his kinsman, Aben Osmin.<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> The usurper was victorious
+over the Christians and took several strongholds, but his army suffered
+at last a bloody defeat at Alporchones. This reverse seems to have
+maddened Osmin, who henceforward conducted himself as a tyrant of the
+old Roman type. Revolutions had now become as frequent in Granada as in
+some South American states. The usurper ran his brief career, and was
+then forced to make room for Mohammed VIII.’s cousin Saïd. Granada was
+all for peace. Tribute was paid to Enrique IV. of Castile, Christian
+captives released&mdash;all in vain. The intermittent warfare went on as
+before. Jaen, Archidona, Gibraltar, were lost, despite the desperate
+valour of the Prince, Muley Hassan, and of the Chieftain, Ibrahim, who,
+on being<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> vanquished, plunged on horseback into the depths of a ravine.
+At last, however, the distracted Ibn Ismail obtained peace for his
+wretched country by a personal interview with Enrique, outside the walls
+of Granada. He devoted the remainder of his reign to the encouragement
+of commerce, industry, and agriculture in his dominions&mdash;labour that did
+not benefit even those who were to succeed him; and died at Almeria in
+the year 1465. The knell of the Moorish Empire in Europe was sounded
+over his bier.</p>
+
+<p>The reigns of Ali Abu-l-Hassan, Mohammed XI. (Boabdil), and Mohammed
+XII. (Az-Zaghal) covered the years 1465-1492, during which the downfall
+and extinction of the kingdom were accomplished. The history of these
+events has already filled many bulky tomes, and has been made familiar
+to English readers by the works of Prescott. Even our brief survey,
+however, cannot be concluded without a summary of the last chapter of
+the story of Granada.</p>
+
+<p>The character of Muley Ali Abu-l-Hassan was the reverse of his
+predecessor’s. He was arrogant, impetuous, and warlike, a fanatical
+hater of the Christians, and a zealous Muslim. In the first years of his
+reign he gained some successes over the feeble Enrique IV., and proved
+himself strong enough to quell a revolt at Malaga. But he let slip the
+opportunity of attacking the new<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> sovereigns of Spain, Ferdinand and
+Isabel, when they were engaged in war with the partisans of “La
+Beltraneja,” nor did he make any attempt to effect an alliance with
+their numerous enemies. State-craft does not appear to have been
+possessed to any great extent by the descendants of Al Ahmar. In 1476,
+Abu-l-Hassan condescended to sue for a renewal of the alliance with the
+Queen of Castile; but when Ferdinand of Aragon made the payment of the
+tribute stipulated by Ibn Ismail a condition of the treaty, the Moor’s
+proud nature revolted. “Return to your sovereigns,” he said to the
+Spanish ambassadors, “and tell them that the sultans who paid tribute to
+the Christians are dead; that here we manufacture only iron spear-heads
+for our enemies.” These words sealed the fate of the Moors in Spain,
+though the ruler who uttered them probably thought them merely the
+prelude to just such a frontier war as had raged intermittently for so
+many years.</p>
+
+<p>The first act in the long-drawn-out drama was the capture of Zahara by
+the troops of Granada, in 1481&mdash;provoked by the predatory incursions of
+the Marquis of Cadiz. The Christian garrison was surprised during a
+furious tempest, and put to the sword. The rest of the inhabitants were
+carried off in captivity to Granada. Abu-l-Hassan, inflated with pride,
+returned to his<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> capital. There were popular rejoicings, but the wiser
+Moors shook their heads and predicted that the ruins of Zahara would
+fall upon their own city.</p>
+
+<p>The fiery chivalry of Andalusia were not slow to retaliate. Two months
+after the capture of Zahara, the more important Grenadine stronghold of
+Alhama was taken by storm by the forces of the Marquis of Cadiz. The
+news produced the utmost consternation in Granada. Abu-l-Hassan at once
+set out with 53,000 men, and invested the place. Ferdinand the Catholic,
+who had now conceived the idea of reducing the whole kingdom of Granada,
+hurried to its relief; but he had only reached Lucena when tidings
+arrived of the raising of the siege by the Marquis’s hereditary foe, the
+Duke of Medina Sidonia. Abu-l-Hassan returned to the attack a few weeks
+later, and Ferdinand resumed his advance, before which the Moors
+retired. The Catholic sovereigns made their triumphal entry into Alhama
+on May 14, 1482.</p>
+
+<p>Great preparations were made throughout Castile and Aragon for the
+prosecution of the war, but the army actually assembled before Loja on
+July 1&mdash;16,000 men&mdash;fell far short of Ferdinand’s requirements and
+expectations. The town was ably defended by one of the bravest Moorish
+chieftains, Ali Atar, who repulsed the<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> Christians with severe loss. The
+King of Aragon narrowly escaped with his life, and was compelled to beat
+a retreat. Abu-l-Hassan swept the country as far as the Rio Frio.</p>
+
+<p>Such a success, if it had been followed up, might have turned the scale
+in favour of the Moors. But at Granada, treason always followed closely
+on the heels of victory. Years before, a beautiful Christian captive,
+Doña Isabel de Solis, daughter of the Governor of Martos, had been added
+to the Sultan’s harem. Under the name of Zoraya, in the course of time,
+she bore him a son, Abu Abdullah, and rose to the rank of favourite
+Sultana.<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> Now, jealous, it is said, of a Greek slave, or perhaps
+antagonised by the first Sultana, Ayesha, she fomented a conspiracy
+against her aged lord, and was imprisoned with her son in the Alhambra.
+Thence they contrived to escape, and, exciting the populace in their
+favour, obliged Abu-l-Hassan to seek refuge at Malaga. Abu Abdullah,
+better known as Boabdil, or el Chico (the little), reigned in his stead,
+but Baza, Guadix, and other eastern towns remained faithful to their old
+allegiance.</p>
+
+<p>These dissensions among the Moors, though ultimately benefiting the
+Spaniards, contributed<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> indirectly to one of the most serious disasters
+that befell the latter during the campaign. For an expedition against
+Malaga, headed by the Marquis of Cadiz and the Grandmaster of Santiago,
+while threading its way through the passes of the Ajarquia, was attacked
+by the lieutenants of the old lion, Abu-l-Hassan, and cut to pieces.
+Eight hundred Spaniards were left dead on the field. Boabdil, emulous of
+the glory his father had acquired, marched out of Granada with 9700 men,
+and gave battle to the enemy under the Count of Cabra, near Lucena. The
+Moors were totally defeated, their bravest general, Ali Atar, was slain,
+and Boabdil himself captured by a private soldier, named Martin Hurtado.</p>
+
+<p>Had this unlucky prince been left in the hands of his enemies, the war
+might have had a different result, but his mother and followers at once
+made proposals for his release. This was finally effected by a most
+dishonourable treaty. Boabdil was accorded a two years’ truce, covering
+all places that acknowledged his authority, and in return bound himself,
+not only to pay a tribute of twelve thousand golden ducats, but to
+assist with supplies the Spanish troops passing through his dominions to
+attack his own father. Having thus exchanged his honour for his liberty,
+the miserable Sultan returned to his capital, to find that the old King
+had possessed himself of the Alhambra.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> A collision between the two
+factions deluged the streets of Granada with blood. The alfakis and
+ancients at length arranged an armistice, and Boabdil was suffered to
+retire to Almeria, which was assigned to him as capital and residence.</p>
+
+<p>For the next four years, the Catholic sovereigns abstained from any
+important military demonstration, contenting themselves with ravaging
+the wretched country and harrying its frontiers with incessant forays
+and marauding expeditions. Meanwhile, a strong man appeared on the scene
+in the person of Abu-l-Hassan’s brother, Abdullah Az-Zaghal. Determined
+to put an end to the divisions which, more than the prowess of the
+Spaniards, were bringing about the ruin of his country, this prince
+swept down upon Almeria, slew the governor, took prisoner Zoraya, but
+failed, alas! to secure the person of Boabdil, who fled to Cordova and
+placed himself under Ferdinand’s protection. Not long after,
+Abu-l-Hassan, aged and worn out, abdicated in favour of his warlike
+brother, and died at Mondujar. This event strengthened Boabdil’s claims
+upon the tottering throne; and he entered into a compact with his uncle,
+whereby both were to reign in Granada, the one in the Albaicin, the
+other in the Alhambra. Anxious to redeem his reputation, the newly
+restored monarch attacked the Christians near Loja with vastly inferior
+forces. He<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> was soundly beaten and forced to take refuge in the Alcazar
+of Loja, whence he was only allowed to emerge on renewing the
+humiliating treaty he had concluded at Cordova. He was not, however,
+disposed to yield the crown to his rival, and returning to Granada,
+surprised and seized the Alcazaba. One of the most desperate conflicts
+recorded in the history of the city then occurred between the partisans
+of the rival sultans. Further bloodshed was at last averted by the
+intervention of ambassadors sent by Ferdinand. The old dual arrangement
+seems to have been temporarily resumed. Meanwhile, Ferdinand and Isabel
+once more took the field, and, in 1487, they invested and captured
+Velez-Malaga and the important city of Malaga, notwithstanding
+Az-Zaghal’s efforts to relieve both places. The brave Sultan now
+abandoned the capital to his nephew, and established his headquarters at
+Almeria. He succeeded throughout the year 1488, in repelling an invasion
+of his province; but in the following year, after the fall of the strong
+city of Baza, he bowed, as he himself expressed it, to the will of
+Allah, and surrendered all the places in his possession, including
+Almeria and Guadix, to the Catholic sovereigns. Mohammed XIII., as he is
+styled by Moorish historians, retired to Algeria, where he died, years
+afterwards, in indigence and obscurity.<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p>
+
+<p>There remained now, of all the Moorish dominions in Europe, but the
+single city of Granada, of which Mohammed XII., Boabdil, was at last
+undisputed sovereign. He formed the manly resolution to sell his
+hard-won crown as dearly as possible. He sallied from Granada, took
+Alhendin and Marchena by assault, and laid waste the country in
+possession of the Christians. Summoned by Ferdinand and Isabel to
+surrender the city in accordance with an alleged treaty, he replied, and
+probably with truth, that his proud and exasperated subjects would not
+permit him to do so. The population of Granada was swollen by refugees
+from all parts of the kingdom to thrice its normal figure. The Spanish
+king perceived that the surest method to reduce it was by blockade. With
+20,000 men, including some of the first chivalry of all Europe, he
+entered the Vega, and built the town of Santa Fé, almost at the gates of
+the threatened city. This permanent establishment of the Infidels on
+their native soil plunged the Moors into profound gloom. No ray of hope
+remained to the unfortunate Boabdil. The city endured the horrors of a
+famine. The Spanish fleet precluded all hope of supplies from Africa,
+towards which country the wretched people still turned in expectation of
+help. The negotiations for the capitulation which <span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>the Sultan most
+reluctantly entered upon in October 1491, had to be conducted, through
+fear of the populace, with profound secrecy. Indeed, at the last moment,
+Boabdil, in danger of his life, besought Ferdinand to accelerate his
+entrance into the city. On January 2, 1492, accordingly, the Moorish
+king, attended by fifty horsemen, surrendered the keys to the Catholic
+sovereigns on the banks of the Genil, passing on to the domain allotted
+him by the conquerors in the rocky Alpujarras. The story of his stopping
+to gaze for the last time on his former kingdom, and of the rebuke
+administered to him by his mother, is well known. We are not told
+whether his eye caught the gleam of the great silver cross hoisted over
+the Alhambra by Cardinal Mendoza by way of signal to the Spanish host
+that the occupation of Granada was completed and that the dominion of
+Islam in Spain was for ever at an end.</p>
+
+<p>It had endured seven hundred and eighty-one years&mdash;a period only sixty
+years short of that which has elapsed since the Norman Conquest of
+England. More remarkable still, the Sultanate of Granada had survived
+the virtual break-up of the Saracen empire by over two centuries. When
+we consider its limited area, its isolated position, the might and the
+inveterate hostility of the neighbouring states, and the attacks to
+which it was unceasingly subjected, we cannot<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> but feel the liveliest
+admiration for the valour and sagacity of its rulers and the
+stout-heartedness of its people. Had not the Court been too often the
+theatre of contending factions, had not those factions turned their
+swords against each other, the Sultanate of Granada might have outworn
+Spain’s military and national vigour, and have endured to our own day as
+a western Turkey. For the spirit of Tarik, of Abdurrahman, and of
+Almansûr was not altogether dead, even in the brave but ill-starred
+sovereign to whom alone historians ascribe the downfall of the kingdom,
+and whom they, strangely enough, accuse of effeminacy and weakness. The
+Moors of Granada knew how to fight a losing fight; in gambler’s
+parlance, when they had lost the tricks, they struggled to win the
+honours. They proved themselves worthy of their ancestors; and the
+finest, as it was also the latest, monument of the Mohammedan dominion
+in Spain is Granada the noble and the memorable.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
+
+<h3><a name="THE_ALHAMBRA" id="THE_ALHAMBRA"></a>THE ALHAMBRA</h3>
+
+<p class="nind"><span class="smcap">The</span> Alhambra, or Red Palace, the Acropolis of Granada, is the finest
+secular monument with which the Muslims have endowed Europe. It belongs
+to the last period of Spanish-Arabic art, when the seed of Mohammedan
+ideas and culture had long since taken deep root in the soil and
+produced a style which might more properly be called Andalusian than
+Moorish. If the Muslims left a deep impression upon Spanish thought and
+art, it must not be supposed that they altogether escaped the influence
+of their Christian neighbours. During the last two centuries of their
+occupation the rigid puritanism of their creed was greatly relaxed,
+especially as regarded art&mdash;always the reflection of the customs and
+spirit of a people. The wave of the Renaissance did not leave untouched
+the shrunken Moorish empire, and if Castilian kings did not hesitate to
+employ Muslim artisans in the construction of their cathedrals, the
+Sultans of Granada did not disdain the advice of Christian artists in
+the embellishment of their palaces. The Alhambra remains a thoroughly
+Moham<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span>medan monument, but one which symbolises a phase of Mohammedan
+culture and institutions almost peculiar to one country and epoch.
+Nowhere else and never since has Islam reached such a pitch of
+refinement. The Alhambra stands as the high-water mark of its art and
+civilisation.</p>
+
+<p>There will never be produced a new Alhambra, any more than a new
+Parthenon or new Pyramids; for these great buildings were the
+expressions of ideas and aspirations peculiar to societies which have
+long ago perished. Thus, the Red Palace of Granada is not interesting
+merely as a Mohammedan edifice left isolated in the far west of Europe,
+but as the monument of a people and a civilisation long dead and gone. A
+sadness, too, attaches to it, proceeding from the memory of the violent
+extinction of that people with a mission unfulfilled&mdash;fraught, as it
+seems to have been, with so much of light and beauty to the Christian
+and the Muslim worlds.</p>
+
+<p>The Sierra Nevada thrusts forward a spur which overlooks Granada on the
+south-east, and is divided by two clefts or barrancos into three
+eminences. The easternmost of these is crowned by the Generalife, the
+westernmost by the ancient fortifications known as the Torres Bermejas
+or Vermilion Towers. The hill between the two&mdash;in shape aptly compared
+by Ford to a grand<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> piano&mdash;is that on which the various buildings,
+collectively styled the Alhambra, are reared. Here there existed a
+settlement in remote Celtiberian days; and the later city of Illiberis
+or Elvira stood here, and perhaps extended to the Torres Bermejas. When
+the Moors came they erected a fortress&mdash;the Alcazaba&mdash;on the point of
+the Alhambra hill, overlooking the Vermilion Towers. To this they gave
+the name of <i>Alhamra</i>, “the red,” as Riaño thinks, to distinguish it
+from the Alcazaba in the Albaicin quarter, or perhaps from some
+confusion of the new building with the old. The builder, according to Al
+Khattíb, was one Sawar Alcaysi, who lived in the second half of the
+ninth century; though Contreras says it was known as the Tower of Ibn
+Jaffir, and Ford names Habus Ibn Makesen as the founder. At all events,
+the structure dated from the earliest period of the Arabic domination,
+and Al Ahmar found here, on taking possession of Granada, a small town
+girdled with walls and defended by a citadel.</p>
+
+<p>Al Khattíb refers to the Citadel of Granada in these terms: “The
+southern part of the city is commanded by the suburb of the Alhambra or
+Medina Alhamra, the court of the sultanate, crowning it with its
+turrets, its lofty towers, its strong bastions, its magnificent Alcazar,
+and other sumptuous edifices, which by their splendour<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> ravish the eye
+and the soul. There is, too, such an abundance of waters that,
+overflowing in torrents from the tanks and reservoirs, they form on the
+declivity streams and cascades, whose sonorous murmurs are heard afar
+on. At the foot of the walls are spacious gardens, the domain of the
+Sultan, and leafy groves, through the dense greenery of which the white
+battlements gleam like stars. There is, in short, around the circuit of
+the walls, no spot that is not planted with gardens and orchards.” The
+scene has not greatly changed since the Arab wrote. Gurgling brooks
+still run down the slopes of the Alhambra Hill, and nightingales sing in
+the thick woods of elm.</p>
+
+<p>The Alcazaba, being the oldest part of the palace-fortress, should be
+studied first. It is entered by the Torre and Casa de las Armas, through
+a horseshoe arch in red brick, with fine azulejos or glazed tiles. To
+the left is the Torre de Homenage, with which war and time have not
+dealt too gently. It contains, it is interesting to note, a Roman votive
+altar, embedded by the Moorish builders in the masonry, and inscribed by
+“the grateful Valerius to his most indulgent wife, Cornelia.” At the
+opposite extremity of the Alcazaba is the Torre de la Vela, or Watch
+Tower. It is in two storeys, communicating by a dark and narrow
+staircase, with loopholes<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> in the wall.<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> In this tower is hung a
+famous bell, to be heard, it is said, at Loja, thirty miles away. It is
+rung on the anniversary of the Conquest of Granada, on which day it is
+the custom, according to local superstition, for damsels, desirous of
+husbands, to strike it with all their strength. On the summit of this
+tower the cross was first planted by <i>el tercer rey</i>, Cardinal Mendoza.
+The view from the platform, of city and snow-clad Sierra, luxuriant
+Vega, and white-walled towns and villages, is as extensive as it is
+beautiful. At the foot of the Torre de la Vela extends the place of
+arms, defended by two towers, now styled de los Hidalgos and de la
+Polvora, and formerly known as the Paniagua and Cristóbal del
+Salto&mdash;names suggesting legends now forgotten.</p>
+
+<p>An ancient document at Simancas names among the towers connecting the
+Alcazaba with the rest of the fortress, the Torre del Adarguero, “the
+Tower in which dwelleth the servant of Doctor Ortiz,” the Torre de
+Alquiza, the Torre de Hontiveros (now the Torre de las Gallinas), and
+the Tower and Room of Machuca. Of these remains exist, but of another
+tower, referred to as the Torre de la Tahona, no trace remains.</p>
+
+<p>The Alcazaba, according to the most recent researches, was separated
+from the site of the<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> palace by a ravine where, after the Conquest,
+cisterns were constructed by order of the Conde de Tendilla and over
+which the existing Plaza de los Algibes was formed. These works appear
+to have necessitated the demolition of a wall which ran across from the
+Torre de las Gallinas on the north to the beautiful Puerta del Vino on
+the south. This gateway is now quite isolated from the wall of
+circumvallation. Over the horseshoe arch is an inscription in stucco, of
+the usual Moorish character, invoking the Divine protection for the
+builder, Sultan Mohammed V. It appears to commemorate some striking
+victory. Over the arch again is a fine double window or ajimez. On the
+keystone is seen the key, so often figuring as a symbol in all parts of
+the Alhambra, with a G in Kufic characters&mdash;perhaps the initial letter
+of the city. The interior façade has a large horseshoe arch and the
+twin-windows above. The Puerta del Vino was probably the entrance to the
+courts and gardens of the palace.</p>
+
+<p>Having crossed the Plaza de los Algibes, we leave behind us the early
+Moorish works, and approach the buildings which owe their foundation to
+the Nasrite or Grenadine dynasty. The story which credits Al Ahmar
+(Mohammed I.) with the creation of the Red Palace in the middle of the
+thirteenth century appears to<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> be well-founded, for when the Alhambra is
+referred to as existing in earlier times, it is undoubtedly the Alcazaba
+that is meant. To the same hands may be safely attributed the great
+outer wall of the Alhambra which girdles palace and fortress, following
+the inequalities of the hill’s contour. Al Ahmar has left his device,
+<i>Wa ha ghalib ila Allah</i> (There is no conqueror but God), in many parts
+of the building. These words were uttered by him in mournful deprecation
+of the acclamations of his subjects on his return from assisting the
+Christians in the Conquest of Seville. During the two and a half
+centuries of the Nasrite rule, the palace underwent many radical
+transformations and renovations, so that it is difficult to distinguish
+between the works of the various sultans. Ford infers, rightly as it
+seems to us, from the frequent repetition of their names upon the walls,
+that Yusuf I. and Mohammed V. had the largest share in the embellishment
+and restoration of the edifice. Since the Reconquest many changes and
+additions have been made&mdash;notably the Palace of Charles V., to which
+detailed reference will be made later.</p>
+
+<p>The summit of the Alhambra hill was probably peopled in Al Ahmar’s time,
+and it continued to be so during the reigns of his successors. The
+population thus dwelling at the foot of the throne was mainly composed,
+in later times at least, of<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> hangers-on at the Court, ex-favourites and
+discarded sultanas, ulemas and doctors of the law, soldiers of fortune,
+and ambassadors, permanent and extraordinary. Such powerful tribes as
+the Beni Serraj, which exercised so much influence in the last stages of
+Nasrite rule, would also have had quarters for their leaders here. The
+little town&mdash;which seems to have had no parallel before or
+since&mdash;extended from the eastern extremity of the hill to within as near
+the doors of the palace as the temper of the monarch for the time being
+may have permitted.</p>
+
+<p>The precise limits of the palace, even at the time of the Conquest of
+the Catholic sovereigns, have never been ascertained. Portions of it
+were undoubtedly demolished to make room for the palace of Charles V. On
+the other hand, it is recorded in the archives of the Alhambra that
+various private houses were acquired for the purpose of enlarging the
+older building. But making due allowance for demolitions, extensions,
+and restorations since the fifteenth century, we have before us in the
+Palace of the Alhambra a magnificent example of the last or third period
+of Hispano-Arabic architecture.</p>
+
+<p>On the general plan of the edifice, the remarks of Contreras are worth
+quoting <i>in extenso</i>: “We penetrate into every Arabic monument through
+an outlying tower, or between two towers, except<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> in the dwelling-houses
+of the people, in which case the entrance is by a small, square opening,
+a portal useless among us, though seen with frequency in the ancient
+houses of Andalusia. A long, narrow hall cuts the axis perpendicularly,
+thus determining the distribution into two wings of the edifice. By the
+meeting of the two axes is found the entrance, before which we find
+those effects of perspective which are so fantastic in these buildings.
+Following the ingress we find a court with tanks and fountains, with
+light and graceful arcades. Behind the second gallery, following the
+same central axis, are oblong naves which cross each other at right
+angles to the extreme end of the building, where the cupolas or turrets
+of the innermost dwelling apartments rise majestically above the level
+of the edifice and are reflected in the waters of the basins. The halls
+of a house of this kind, according to its rank or grandeur, were
+arranged in little pavilions on the long sides of the courts, as various
+in their style of decoration as the tents of a Turkish camp, where the
+quarters of an Amir may be found beside those of the common soldiers.
+And if these rows of chambers are now found disposed according to the
+strict alignment of Mudejar eaves, it is an indication that the severe
+genius of the Christian conquerors has transformed them, not permitting
+those crests, cupolas, or<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> steeples which disturb the symmetry of the
+decoration.</p>
+
+<p>“Outside this plan, absolutely classical, which we may compare to a
+cross with the transverse arm prolonged and cut at various distances by
+perpendicular arms parallel to each other, but of different length, the
+Spanish Arabs found no other easy method of building, so that, while
+diminishing or prolonging the arms of the axis as much as the
+dependencies of the largest palaces might require, they never departed
+from the system, wherever they might build.... This, then, is the true
+scheme of the Alhambra, and it is quite other than that conceived by the
+classicists of the eighteenth century, with its façades, angles, and
+squares.”</p>
+
+<p>It must, however, be admitted that order is much more conspicuous in the
+decoration than in the ground plan of the palace. All Moorish
+ornamentation is based on a strictly geometrical scheme, and every
+design may be resolved into a symmetrical arrangement of lines and
+curves at regular distances. The intersection of lines at various angles
+is the secret of the system. All these lines flow from a parent stem,
+and no figure or ornament is introduced at random. Moslem ornamentation
+abhors irregularity and rejects symbolism. The law of Islam which
+forbade the delineation of living objects was not,<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> however, always
+observed in this palace of half-Europeanised Arabs.</p>
+
+<p>Simplicity and a love of the elementary characterise also the colouring
+of the decorations. On the stucco work only the primary colours were
+used: blue, red, and yellow. The secondary colours occur only in the
+dados of mosaic. The green groundwork of much of the ornamentation as it
+is to-day was formerly blue, time having changed the tint of the
+metallic pigment employed. The decoration of the surfaces seems to have
+been planned with strict regard to the colouring they were to receive.
+Both as regards decoration and colour, allowance must always be made for
+innovations since the Alhambra passed into Christian hands.</p>
+
+<p>“Let us look for a moment,” writes Mr. John Lomas, “at some points of
+detail&mdash;more especially of the ornamentation. Wherever the eye falls, it
+may rest upon some fine bit of arcading or peristyle, so delicate in the
+transparent tracery of its spandrils, in the rich work of its capitals,
+and its slenderness of pillar, that one marvels at first how such
+fairy-like construction could stand for even a single generation.
+‘Lovers’ tears’ they call this lace-work, and they tell one to stand
+just within the dim hall or vestibule, and get a vision of the blue sky
+that appears beyond as a little cloud of sapphires. But it<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> is surely
+better&mdash;an insight into a piece of truer art&mdash;to stand outside the
+eastern kiosk of the Lion’s Court and looking through spandril,
+vestibule, and sala, catch the light glinting through the distant
+opposite windows. That is transparency of effect, indeed! One would like
+to meet with the architect who thought it out.</p>
+
+<p>“Some of the irregularities which obtain here seem almost incredible.
+What could be more satisfactory than this range of exquisite arcading,
+its slender palm-like stems, its gracefully stilted arches, and the
+fairy filigree-work of the spandrils? There seems to be not one single
+point that can offend the justest eye, and yet there are nearly a dozen
+different archings, differing in form, or height, or width; the cloister
+varies in breadth at every turn; the upper galleries are uneven; the
+doorways are the personification of self-will; the columns are placed,
+sometimes singly, sometimes grouped, and the numbers of them on the
+respective sides in no way correspond.... And, nevertheless, there is an
+all-prevailing symmetry&mdash;and harmony. The whole is a triumph of
+accurately judged effect.”</p>
+
+<p>In a foot-note Mr. Lomas adds: “As an instance of the careful way in
+which the architects of these olden days went to work, it may be
+mentioned that the exact relation between the irregular widths of
+cloistering on the long and<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> short sides of the court is that of the
+squares upon the sides of a right-angled triangle. This obtaining of
+beautiful symmetry through irregularity is a strangely lost art.”</p>
+
+<p>We will now proceed to a more detailed description of the Palace of Al
+Ahmar.</p>
+
+<h4><span class="smcap">The Patio de la Mezquita and adjacent Buildings.</span></h4>
+
+<p>Recent researches have shown that the ancient ingress to the Palace of
+the Alhambra was by a doorway leading into what is now the chapel. It is
+square in shape and has long been walled up. Above it may be deciphered
+the following inscription: “O place of the high kingdom and asylum of
+prodigious aspect! Thou hast achieved a great victory, and the merits of
+the work and of the artificer [are] the glory of the Imam Mohammed. The
+Shadow of the Most High [be] upon all!” This text is believed to refer
+to Mohammed III. (1302-1309).</p>
+
+<p>The chapel, which had been established by Ferdinand and Isabel adjacent
+to the Patio de los Leones, was transferred to this part of the Palace
+of Philip IV. in 1621. At that time a fine chimney-piece in the
+Renaissance style was converted into an altar. The apartment contains
+but few remains of its Moorish builders. Without, is the Patio de la
+Mezquita, with an exquisite<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> façade, much disfigured by a modern
+gallery. The walls are adorned with the oft-recurring device, “God alone
+is Conqueror,” and with sentences extolling the sultans, in various
+sorts of arabesques. The inscription round the central window refers to
+Mohammed V. (1354-1391).</p>
+
+<p>The grand Mosque of the Alhambra was built in 1308 by Mohammed III., and
+was in good preservation until the occupation of the French, who,
+according to Gayangos, entirely destroyed it. An account of it has been
+left to us by Ibn-ul-Khattíb, the Wizir of Yusuf I.: “It is ornamented
+with mosaic work and tracery of the most beautiful and intricate
+patterns intermixed with silver flowers and graceful arches, supported
+by innumerable pillars of polished marble; indeed, what with the
+solidity of the structure which the Sultan inspected in person, the
+elegance of the design, and the beauty of the proportions, the building
+has not its like in this country, and I have frequently heard our best
+architects say that they have never seen or heard of a building which
+can be compared with it.” Little more remains of this superb temple than
+the small oratory entered through a door in the wall opposite the altar
+of the chapel. Here the <i>mihrab</i> is still to be distinguished. Before
+it, Yusuf I., in the act of prayer, fell a victim to the poniard of an
+assassin in the year 1354.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p>
+
+<p>Adjacent to the <i>mihrab</i> is the ruined tower of Puñales, which presents
+many architectural points of difference from the rest of the palace, and
+has features which may have suggested these characteristics of the
+Mudejar style seen in other parts of Andalusia. The principal window of
+the tower was furnished with a wooden balcony with lattices similar to
+those seen in Constantinople and Cairo.</p>
+
+<p>Retracing our steps across the Patio de la Mezquita, we reach the
+spacious Court of the Myrtles or of the Fish-pond (Patio de los
+Arrayanes, or de la Alberca). This is the court first entered by the
+visitor through the modern entrance. It is one of the most beautiful
+parts of the palace, and gives a foretaste of the glories that lie
+beyond. One feels immediately transported to the East. “The originality
+of the architecture [says Don Francisco Pi Margall], the airy galleries,
+its rich <i>alhamis</i> or alcoves, the splendid apartments of which glimpses
+are obtained through its arches, the fountains and foliage, the
+reflection of its stuccoed walls in the waters of the pond, the murmur
+of the breezes that agitate the dense myrtles, the transparency of the
+sky, the silence that reigns all about&mdash;all oppress the soul at the same
+time, and leave us for some moments submerged in a sea of sensations
+which reveal to us little more than the harmony of the whole<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> scene.”
+The court forms an oblong, bounded at the north and south by two
+galleries supported on eight columns of white marble, and to the east
+and west by walls pierced with doors and twin-windows covered with
+arabesques, but differing in degree of ornamentation. At each angle we
+find an <i>alhami</i> or alcove, where the Moors were accustomed to laze away
+the day, extended on rich carpets and divans. The walls of these little
+places are encrusted with reliefs in stucco, their roofs are of the
+stalactite pattern. Along the middle of the court extends the <i>alberca</i>
+or fish-pond, its margins hidden by orange trees and myrtles. The clear
+water gushes up into two round basins at either end. To the north, the
+prospect is closed by the battlemented Tower of Comares, to the south by
+the walls of the Palace of Charles V. Through one of the entrances can
+be seen the fountain in the Patio de los Leones. The court is redolent
+of the languor, voluptuousness, and splendour of the East.</p>
+
+<p>Each arcade is composed of seven semicircular arches, the central one
+reaching up to the cornice, while the others, much lower, are closed
+with perforated woodwork or lattices. The roof of the southern gallery
+is of artesonado or troughed form, and bears seven small cupolas; over
+the central arch of the northern gallery is a single cupola painted with
+little gold stars on a blue ground.<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
+
+<p>In this court there are numerous inscriptions, of which the following
+are the most important.</p>
+
+<p>“Go and tell true believers that Divine help and ready victory are
+reserved for them.”</p>
+
+<p>“I am like the nuptial array of a bride, endowed with every beauty and
+perfection.”</p>
+
+<p>“Truly Ibn Nasr is the sun, shining in splendour.”</p>
+
+<p>“May he continue in the noontide of his glory even unto the period of
+his decline.”</p>
+
+<p>In the Patio de la Alberca is an arch differing altogether from all
+others in the Palace. Only one surface is decorated, and that with a
+principal or guiding figure made out by colours. The ornaments
+approximate more closely than is usual in Moorish architecture to
+natural forms, and the arch has very much of a Persian character.</p>
+
+<p>This court is believed to have constituted the division between the male
+apartments, frequented by the general public, which we have already
+described, and the <i>Harem</i>, or private quarters, including the Patio de
+los Leones, &amp;c.</p>
+
+<p>We pass through a beautiful arch decorated with tasteful floral designs,
+into the Sala de la Barca, or ante-room of the Hall of Ambassadors. This
+fine apartment, formerly radiant with colours, was seriously damaged in
+the fire of 1890. The ceiling of this hall, says Owen Jones, “is a
+wagon-headed dome of wood of the most elaborate<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> patterns, receiving its
+support from pendentives of mathematical construction so curious that
+they may be rendered susceptible of combinations as various as the
+melodies which may be produced from the seven notes of the musical
+scale; attesting the wonderful power and effect obtained by the
+repetition of the most simple elements.”</p>
+
+<p>Beyond this hall rises the Tower of Comares, appearing to rest on the
+slenderest pillars and almost to be balanced in the air. The real
+supports have been purposely kept out of sight. The view from the summit
+of the massive battlemented tower is magnificent. From this platform,
+Washington Irving remarks, the proud monarchs of Granada and their
+queens have watched the approach of Christian armies, or gazed on the
+battles in the Vega. The walls of the tower are of surprising thickness.</p>
+
+<p>The interior, which is a square of 37 ft. by 75 ft. high up to the
+centre of the dome, is occupied by the Sala de Embajadores, the
+reception-room of the Sultans. It is the largest and perhaps the most
+imposing of the halls of the Alhambra. Lifting our eyes, we behold a
+glorious, airy dome, of artesonado work, with stars and painted angles.
+Owen Jones is of opinion that the present ceiling replaced an earlier
+one, which was supported by an arch of brick. The hall lacks its former
+pavement of marble, its central<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> fountain, and the lattices that filled
+in its twin-windows. But it is still adorned by a beautiful mosaic dado
+(known as <i>sofeisfa</i>) reaching to the wooden cornice. Numerous are the
+Kufic and African inscriptions introduced into the decoration, the motto
+of Al Ahmar being frequently repeated. Opening on to the hall are nine
+alcoves, each with twin-windows, which have replaced balconies. The
+alcove opposite the entrance was the site of the Sultan’s throne, as the
+long poetical inscriptions testify. What gorgeous assemblies must have
+filled this saloon in bygone years&mdash;and what tumultuous scenes and
+fateful decisions must have been here enacted!</p>
+
+<h4><span class="smcap">The Patio de los Leones and adjacent Apartments.</span></h4>
+
+<p>The Patio de los Leones (Court of the Lions) occupies, with the chambers
+opening on to it, the south-eastern quarter of the Palace. “There is no
+part of the edifice that gives us a more complete idea of its original
+beauty and magnificence than this,” says Washington Irving, “for none
+has suffered so little from the ravages of time. In the centre stands
+the fountain famous in song and story. The alabaster basins still shed
+their diamond drops; and the twelve lions, which support them, cast
+forth their crystal streams as in the days of Boabdil. The
+archi<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span>tecture, like that of all other parts of the palace, is
+characterised by elegance rather than grandeur; bespeaking a delicate
+and graceful taste, and a disposition to indolent enjoyment. When one
+looks upon the fairy tracery of the peristyles, and the apparently
+fragile fretwork of the walls, it is difficult to believe that so much
+has survived the wear and tear of centuries, the shocks of earthquakes,
+the violence of war, and the quiet, though no less baneful, pilferings
+of the tasteful traveller: it is almost sufficient to excuse the popular
+tradition, that the whole is protected by a magic charm.”</p>
+
+<p>The court is an oblong measuring 116 ft. by 66 ft. On each side is a
+peristyle or portico, and at either end a graceful pavilion with a fine
+dome. The supporting marble columns are 124 in number and 11 ft. high.
+They are placed irregularly, sometimes singly, sometimes in pairs&mdash;an
+arrangement which does nothing to mar the general impression of harmony.
+The arches exhibit a similar variety of curve, and spring from capitals
+decorated with rich foliage of various designs. The space above the
+arches is filled in with the usual arabesque work, and adorned with
+verses from the Koran. The ceilings of the porticos are enriched with
+delicate stucco work, and the walls are covered to a height of five feet
+with a dado of blue and yellow azulejos, bordered with<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> blue and gold
+enamelled escutcheons bearing an Arabic motto on a bend.</p>
+
+<p>In the centre of the court is the fountain from which it derives its
+name. This is composed of two basins (in Moorish times there was but
+one) supported by twelve marble lions. These Arabian sculptures, remarks
+Ford, are rudely but heraldically carved, and closely resemble those to
+be seen supporting Norman-Saracenic tombs in Apulia and Calabria. “Their
+faces are barbecued, and their manes cut like the scales of a griffin,
+and their legs like bedposts, while a water pipe stuck in their mouths
+does not add to their dignity.” Indeed, the consolatory reminder
+contained in the tremendously long inscription round the basin, that
+there is nothing to be feared from these creatures, for “life is wanting
+to enable them to show their fury,” seems ludicrously unnecessary. As
+specimens of Arabian sculpture they are in all probability unique; the
+builders of the Alhambra were evidently not over-strict in the
+observance of their religion. The inscription referred to has been
+versified by Valera, and runs into forty-four lines of Castilian.</p>
+
+<p>On the south side of the Patio de los Leones is the Sala de los
+Abencerrages (Hall of the Beni Serraj), so called because it is believed
+to be the scene of the massacre of thirty-six chiefs of that tribe by
+order of Boabdil. A reddish vein in<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> the marble flooring is pointed out
+as the victims’ indelible bloodstains. The story has only the slenderest
+historical foundation, and was first circulated by a writer of the name
+of Ginés Perez de Hita, who lived in the sixteenth century. According to
+some, the usurper Aben Osmin (1446) was beheaded here by order of the
+prince Muley Hassan; but others, writing of that confused period of
+Granadine history, say the tyrant fled to the mountains. This chamber,
+perhaps the most elegant in the Alhambra, does not seem a likely place
+for deeds of blood. It is entered through a wonderfully graceful arch,
+growing out of, rather than springing from, marble shafts. The chamber
+is a square, prolonged on the east and west by two <i>alhamis</i> or alcoves,
+which are entered through exquisitely-curved arches. But the glory of
+the Sala de los Abencerrages is its roof&mdash;its plan like that of a star,
+with pendants or stalactites, and sixteen windows in its vaultings.</p>
+
+<p>“Its thousand stalactites,” writes Don Francisco Pi Margall, “its
+colours, its innumerable archings, its crowns of stars, its complicated
+depressions and projections, its cones, its polygons, its accidents of
+light, the effects of chiaroscuro, present it at first sight as
+something confused, indefinable, indecipherable, resplendent, and vague,
+like that broad band, the Milky Way, which crosses the pavilion of the
+heavens. Yet<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> in reality it is most regular, although irregular in
+appearance; the compass of the geometrician had more to do in planning
+it than the genius of the artist; but its lines are so many, and their
+combinations change so rapidly, that the scheme is only to be
+comprehended after a long and patient study.”</p>
+
+<p>The azulejos which face the walls date from the time of Charles V. In
+the centre of the hall is the marble basin beside which the Beni Serraj
+are fabled to have been slain.</p>
+
+<p>Opposite this hall, on the north side of the Lions’ Court, is the Sala
+de las Dos Hermanas (or, of the Two Sisters), so called after two twin
+slabs of marble let into the pavement. An exquisite arch gives
+admittance from the court to a narrow corridor, which communicates on
+the right with the upper storey, and with the mirador or latticed
+balcony, from which the ladies of the Harem would gaze into the <i>patio</i>
+below. The hall is as rich, as graceful, as suggestive of Eastern luxury
+and repose as that which we have just left. In each wall is an arched
+opening, two being entrances, the others admitting to alcoves somewhat
+more shut off than in other parts of the Alhambra. Above each arch is a
+window corresponding to the apartments in the upper storey, now
+vanished. The roof exhibits the same marvellous combinations of
+geometrical forms,<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> the same confused symmetry, as are seen in the Sala
+de los Abencerrages. Indeed, this hall is generally (but not
+universally) considered the more admirable of the two. The surface of
+the walls is hidden beneath costly reliefs of stucco and azulejos.
+Inscriptions on the sixteen medallions and cartouches have been
+deciphered into a long poem by Ibn Zamrek, composed in honour of
+Mohammed V., and translated into eleven verses of Spanish by Valera. One
+verse exhorts us “to look attentively at my elegance and reap the
+benefit of a commentary on decoration; here are columns ornamented with
+every perfection, the beauty of which has become proverbial.”</p>
+
+<p>In this magnificent apartment formerly stood the famous vase (<i>el
+jarron</i>), which tradition says was discovered in one of the subterranean
+chambers of the Palace, full of gold. It is now in the little Alhambra
+Museum. The vase, which dates from the fourteenth century, and is
+beautifully enamelled in white, blue, and gold, is described by Baron
+Davillier in his work on Spanish Pottery.</p>
+
+<p>Beyond the Hall of the Two Sisters is a long, narrow apartment called
+the Sala de los Ajimeces (Hall of the Twin Windows). Its ceiling and
+decorations are little inferior to those of the larger hall. On the
+north side opens the exquisite Mirador de Lindaraja, or
+prospect-chamber, affording a delightful view of the garden beyond.<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> In
+wealth of detail and ornamentation, this little bower of fifteen by ten
+feet surpasses all other parts of the Palace. In Moorish days the
+Sultanas could look from behind the lattices of the three windows across
+the town and the plain of the Vega. When their eyes wearied of the
+prospect they could scan the numerous poetical effusions traced upon the
+walls.</p>
+
+<p>Returning to the Patio de los Leones, we enter, at its eastern
+extremity, the Sala del Tribunal, or de la Justicia. This hall consists
+of seven chambers opening on to a common vestibule. The four small rooms
+are square, and are separated by three larger oblong apartments. The
+same gorgeous colouring, the same profusion of geometrical
+ornamentation, here as elsewhere in the Alhambra! The arch over the
+central small chamber, or divan, is perhaps the finest in the whole
+Palace. But what renders this hall the most remarkable in the edifice is
+that it contains what are probably the only existing specimens of
+mediæval Muslim figure painting. The ceiling of the central alcove or
+<i>alhami</i> is adorned by a painting representing ten personages, who were
+formerly supposed to be judges, whence the name given to the hall. They
+were intended, more probably, to represent the first ten sultans of the
+Nasrite dynasty. The painting, like those in the other alcoves, is done
+in bright colours (gold,<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> green, red, &amp;c.) on leather prepared with
+gypsum. The designs appear to have been sketched in brown. The paintings
+in the other <i>alhamis</i> are of an even more interesting character. In the
+first, a castle with square towers and battlements is seen; outside it
+is a lion led in chains by a maiden, whose hands are rudely grasped by a
+savage with shaggy hair and beard. A rescuer hurries to her assistance
+in the person of a Christian knight, armed <i>cap-à-pie</i>. On the other
+side of the picture, the same knight is shown attacked by a Moorish
+cavalier, who plunges a lance into his breast. The Moor is evidently out
+hunting, for beneath the combatants’ horses his dogs are chasing the
+wild boar and fox. From the towers of the castle two fair ladies
+observe, with evident pleasure, the Christian’s overthrow. In another
+part of the picture both knights are shown, following the chase; and a
+page is seen, leaning against a tree, with sword and shield, presumably
+awaiting his master’s return.</p>
+
+<p>The second painting is entirely devoted to hunting scenes. Moors are
+seen chasing the wild boar, while the Christians occupy themselves with
+bears and lions. The huntsmen are also seen returning and offering the
+spoils of the chase to their ladies. The Moor greets his sultana with a
+benign and condescending air; the Christian warrior kneels to the lady
+and offers his prize.<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
+
+<p>The most competent critics have now arrived at the conclusion that these
+paintings are of the fourteenth century, and therefore executed under
+the Muslim sovereigns, in defiance of the precepts of the Koran. Whether
+they were the work of a Mohammedan it is not so easy to say. Gayangos
+has pointed out remarkable similarities between these paintings and
+those in the Campo Santo at Pisa; and on the whole it is probable that
+they were executed by an Italian artist, whom the Muslims may not have
+scrupled to employ to do a thing for them unlawful. A parallel instance
+of casuistry is that of London Jews, who on certain feasts employ
+Christians to perform forbidden menial offices. It should also be said
+that in the opinion of some modern Muslim doctors the prohibition of
+sculpture and painting is not to be taken as absolute.</p>
+
+<p>In the Sala de la Justicia was found a basin for ablutions, now in the
+Museum, on which are interesting reliefs of lions, deer, and eagles.
+According to the inscription, this was designed in 1305 for the service
+of the mosque, a fact which seems to support the view of the authorities
+just mentioned.</p>
+
+<p>It was in this hall that Ferdinand and Isabel caused Mass to be
+celebrated after the Reconquest, and here that the cross was set up by
+Cardinal Mendoza. The devices of the Catholic sovereigns<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span>&mdash;the Yoke and
+Sheaf of Arrows&mdash;have been introduced into the decoration of the
+alcoves.</p>
+
+<p>The ruinous tower and apartment to the south of the Hall of Justice,
+called the Rauda, appears to have been the mausoleum of the Sultans. The
+niches in which the <i>turbehs</i> were placed may still be distinguished,
+and the long, narrow trough used for the purification of the corpse. In
+the Museum may be seen three tablets with the epitaphs of the Sultans
+Yusuf III. and Mohammed II. and of a prince Abu-l-Hejaj, probably the
+former’s son.</p>
+
+<p>Of the few remaining apartments of the Alhambra, the most interesting
+perhaps is the Tocador, or Queen’s Dressing-room, at the side of the
+Patio de Lindaraja, opposite the Mirador de Lindaraja. This was the
+apartment occupied by Washington Irving, according to his own showing:
+“On taking up my abode in the Alhambra, one end of a suite of empty
+chambers of modern architecture, intended for the residence of the
+governor, was fitted up for my reception. It was in front of the
+Palace.... I was dissatisfied with being lodged in a modern
+apartment.... I found, in a remote gallery, a door communicating
+apparently with an extensive apartment locked against the public.... I
+procured the key, however, without difficulty; the door opened to a
+range of vacant chambers of European<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> architecture, though built over a
+Moorish arcade.... This fanciful suite of rooms terminated in an open
+gallery with balustrades, which ran at right angles with a side of the
+garden.... I found that it was an apartment fitted up at the time when
+Philip V. and the beautiful Elizabeth of Parma were expected at the
+Alhambra, and was destined for the Queen and the ladies of her train.
+One of the loftiest chambers had been her sleeping-room, and a narrow
+staircase leading from it ... opened on to the delightful belvedere,
+originally a mirador of the Moorish sultanas, which still retains the
+name of the <i>tocador</i>. I determined at once to take up my quarters in
+this apartment. My determination occasioned great surprise, but I was
+not diverted from my humour.”</p>
+
+<p>This exquisite apartment is adorned by four sixteenth-century paintings,
+representing the legend of Phaëton. On the artesonado ceiling, painted
+and gilded, may be read the invocation: “The help and protection of God
+and a glorious victory for our Lord, Abu-l-Hejaj, Amir of the Muslims!”
+Round the boudoir runs a gallery of nine arches on Arabic pillars,
+painted and decorated with the figures of Faith, Hope, and Charity,
+Justice, Strength, and Temperance, Jupiter, Neptune, Plenty, and the
+Vestals’ Fire. These paintings were the work of two Italians,<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> Giulio
+Aquila and Sandro Mainere, both pupils of Raphael.</p>
+
+<p>The charming little garden or patio of Lindaraja or Daraja, which
+intervenes between this regal boudoir and the Moorish <i>mirador</i>, appears
+to have been originally called <i>Jin Dar Aja</i>, or garden of the palace of
+Ayesha. The old Moorish garden that used to extend as far as the Tower
+of Comares is now confined by the walls of the Sala de las Ajimeces and
+three arcades of modern construction. The fountain in the centre dates
+from the seventeenth century. An enchanting spot is this, with its
+cypress, orange, and citron-trees rising from trim hedges of myrtle and
+rose.</p>
+
+<p>Between this garden and the court of the Alberca lie the baths&mdash;those
+indispensable adjuncts to the Muslim household&mdash;most skilfully and
+artistically restored by Contreras. The plan is that usually followed
+throughout the East. Passing through the <i>Sala de las Cámas</i> or Unrobing
+Room, where, from a high gallery the songs of the odalisques were wafted
+down to the sultan reclining in one of the alcoves, we enter the Sala de
+Baños, with its white marble bath and pavement of glazed tiles. This
+corresponds with the apartment called by the Arabs, the hararah, or
+vapour-bath, and described in Lane’s “Manners and Customs of the Modern
+Egyptians”; and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> it was under the graceful arcades which support the
+dome that the bathers underwent the kneading and rubbing processes
+lately introduced among us. The chamber is lighted from above through
+star-shaped apertures. The inscriptions refer to the felicity awaiting
+men in this palace of delight. The bathing-apartments consist of three
+halls and two smaller chambers, vulgarly called the Infantas’ Baths.</p>
+
+<h4><span class="smcap">The Towers and Gates of the Alhambra</span></h4>
+
+<p>“The wall of the Nasrites,” writes Señor Fernández Jiménez, “of which
+scarcely a patch remains unimpaired, measured about 1400 metres from one
+extremity to the other, and was defended by twenty-six towers, counting
+as one the two buttresses that defended the gate of the Siete Suelos. To
+this number should properly be added the Torre de las Armas, which is
+pierced by a gate common to the Alcazaba and Alhambra, and is therefore
+also a Nasrite work. The citadel was fortified, moreover, by five
+bastions, corresponding to as many gates, and by various external
+defences, of which traces remain in the modern alamedas. The thickness
+of the towers varies according to their situation and purpose, the
+distance between them ranging from 34 to 64 metres approximately.” At
+the present day<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> we can count only fifteen towers, the names of which
+are: las Aguas, los Siete Suelos, las Cabezas, la Justicia, la Polvora,
+los Hidalgos, la Vela, las Armas, las Gallinas, los Puñales, las Damas,
+los Picos, del Candil, de la Cautiva, and las Infantas.</p>
+
+<p>The Puerta de la Justicia is the principal entrance to the Alhambra. It
+was built, as the inscription over the arch relates, by the Sultan Yusuf
+Abu-l-Hejaj, in 1348. Here justice was administered in Moorish days
+after the old patriarchal fashion. Above the arch is carved an open
+hand, the signification of which is a matter of controversy. The most
+probable explanation is that it is a religious symbol, the five fingers
+typifying Faith in God and the Prophet, and the commandments, to pray,
+to fast, to give alms, and to make the pilgrimage to Mecca. The inner
+arch is beautifully decorated with arabesques, and with the symbol of
+the key. The entrance is continued through another gate, with winding
+passages contrived so as to embarrass an enemy. The arch which gives
+egress from the tower shows some fine enamelling and festoons.</p>
+
+<p>Just outside this gate is the Pilar de Carlos V., a fountain in the
+Greco-Roman style, erected by the Alcaide Mendoza in 1545. It is
+ornamented with the Imperial arms, and sculptured<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> heads of the river
+gods, Genil, Darro, and Beiro.</p>
+
+<p>The double Torre de los Siete Suelos flanks a gateway, now walled up,
+which was formerly the principal entrance to the fortress. Through it
+the unfortunate Boabdil is said to have passed on his way to exile and
+obscurity. The tower is so called because it is believed to descend
+seven storeys underground. Four subterranean chambers have been
+investigated. Here tradition places the site of much buried treasure,
+and fables are told of phantom guards and enchanted sentries.</p>
+
+<p>At the south-eastern angle of the <i>enceinte</i> is the ruinous Torre del
+Agua, which derives its name from the aqueduct that at this point spans
+the ravine. On the north-eastern side we reach the Torre de las
+Infantas, the interior of which is a perfect model of the smaller
+Oriental dwelling-house. Through a small vestibule we reach a covered-in
+patio with a fountain in the centre, and alcoves opening out on three
+sides. The ornamentation is graceful and original. The tower is one of
+the most interesting parts of the fortress. Somewhat less complete and
+regular in its plan, but even more elegantly decorated with
+rose-coloured tiles, is the adjoining Torre de la Cautiva (Captive’s
+Tower). Here the inscriptions resound the praises of Abu-l-Hejaj<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> and
+refer to the <i>Lion</i> residing within these walls&mdash;a very different
+occupant from a captive!</p>
+
+<p>The Torre de los Picos seems to have been so styled from the peaked
+battlements which crown it. It evidently underwent extensive remodelling
+about the time of the Spanish Reconquest, but some relics of the Nasrite
+rule remain in the shape of some beautifully moulded twin windows.</p>
+
+<p>The Torre de Ismaïl, or de las Damas (Ladies’ Tower), was given by
+Mohammed V. to his son Ismaïl, and has a richly decorated belvedere and
+a hall very tastefully ornamented. The ruined tower of Puñales has some
+curious stucco decorations, differing from those found in other parts of
+the palace.</p>
+
+<p>Between the Torres de los Picos and de las Damas is a little <i>mihrab</i> or
+oratory built on the wall. At the Reconquest it was appropriated to the
+private use of one Astasio de Bracamonte. Though it has undergone
+deplorable “restorations,” the <i>kiblah</i> or easterly niche and other
+indications of the Muslim rite can still be made out. Strangely enough,
+the portal is guarded by two Moorish lions brought from the old
+Mint&mdash;the injunctions of the Mohammedan religion being thus ignored in
+its own temple!</p>
+
+<p>The parish church of Santa Maria, erected in 1581, occupies the site of
+the Mosque of which Al Khattíb appears to speak, writing of the deeds<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span>
+of Mohammed III. (1302-1309). “And among his great actions, the greatest
+and most remarkable was the construction of the great Mosque or Aljama
+of the Alhambra, with all that it contained of elegance and decoration,
+mosaics, and cements; as well as lamps of pure silver and other great
+marvels. In front of the Mosque were the baths, erected with the money
+levied from the Christians in his dominions. With the receipts from
+these baths the Mosque and its ministers were maintained.” The modern
+church is of brick, and contains nothing of note, except a Visigothic
+inscription, referring to the construction of three temples, dedicated
+to St. Stephen, St. John, and St. Vincent, in the years 594 and 607.</p>
+
+<h4><span class="smcap">The Palace of Charles V.</span></h4>
+
+<p>The forlorn, roofless palace in the classical style, which seems so out
+of place amid these Oriental buildings, was begun by order of the
+Emperor Charles V. in 1538. It was never completed. The Flemish Cæsar’s
+intention seems to have been to establish a permanent residence here,
+whence he could contemplate the beauties of the Moorish palace. The
+building is a quadrangle of four façades, each seventeen metres high.
+The lower storey is of the Tuscan order, the upper, Ionic. Some of the
+marble portals are very fine. In the decoration appear allusions to the
+campaigns,<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> on sea and land, directed by the Emperor, his motto, <i>Plus
+oultre</i>, and the emblem of the Golden Fleece.</p>
+
+<p>The interior of the palace is occupied by an imposing circular court,
+with a gallery supported by thirty-two columns. The staircase is loftily
+designed, and altogether the palace, if it had been completed and built
+almost anywhere else, would have been a dignified memorial of Charles’s
+reign.<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p>
+
+<h3><a name="THE_GENERALIFE" id="THE_GENERALIFE"></a>THE GENERALIFE</h3>
+
+<p class="nind"><span class="smcap">Across</span> an ivy-draped ravine&mdash;a perfect study in green and red&mdash;the
+Palace of Recreations, the Generalife, overlooks the rugged walls of the
+Alhambra. The name is believed to have been derived from Jennatu-l’arif,
+“the garden of the architect.” The palace appears to have been built by
+a Moor called Omar, from whom it was purchased by the Sultan
+Abu-l-Walid. At the Reconquest it became the property of a renegade
+prince, Sidi Yahya, who adopted the name of Don Pedro de Granada, and
+whose descendants, the family of Campotejar, are to this day the actual
+owners.</p>
+
+<p>The Generalife cannot be regarded as an important monument of Moorish
+architecture. Through the central court, which measures 48.70 by 12.80
+metres, runs the conduit which irrigates the whole estate, and connects
+with the Acequia (or canal) de la Alhambra. The arcaded southern façade
+and the spacious hall adjoining have been altered in order to make a
+large vestibule. The arcade resembles that of the Court of the
+Fish-pond, and exhibits a poetical inscription declaring<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> that
+Abu-l-Walid restored the palace in the year 1319.</p>
+
+<p>The halls of the Generalife are of little interest in themselves, and
+contain several portraits of doubtful authenticity. Those of Ferdinand
+and Isabel, of Juana la Loca and her husband, and of the fourth wife of
+Philip II., are the most important. Among the portraits of the Granada
+family is one supposed to be that of Ben Hud Al Mutawakil, the rival of
+Al Ahmar, and ancestor of Sidi Yahya. This seems to be the portrait
+which English travellers persist in mistaking for that of Boabdil.</p>
+
+<p>But if the palace is in no way remarkable, the gardens are a veritable
+bower of beauty and delight. Water bubbles up everywhere and moistens
+the roots of myrtles, cedars, and tall cypresses, the finest trees in
+all Spain. The legend of the Abencerrage discovered in dalliance with a
+Sultana, beneath one of these cypresses, is absolutely destitute of any
+sort of foundation. The nature of the spot&mdash;so eminently fitted for love
+and lovers’ trysts&mdash;may have suggested the story. But the garden is
+ill-kept, and many of the magnificent trees have been cut down.</p>
+
+<p>&nbsp;</p>
+
+<p>In the city of Granada itself the memorials of the Moorish domination
+are scanty and fast<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> disappearing. In the Zacatin, which was in old
+times the chief bazaar, is a building formerly styled the Casa del Gallo
+de Viento (Weathercock House), and now known by the commonplace
+designation of Casa del Carbon (Charcoal House), owing to its having
+been appropriated to the storage of that useful product. Tradition avers
+that the palace (for such the house at one time was) was built by Badis
+Ibn Habus, a governor of Granada, who ruled about 1070 <small>A.D.</small>, by whose
+direction a vane was made in the shape of a warrior, mounted and armed
+with shield and spear. In later years the building served as a corn
+exchange. The only notable features are the entrance with its horseshoe
+arch and twin-windows, and vestibule with dome and alcoves. Adjacent to
+the Casa del Carbon is the house of the Duque de Abrantes. Beneath it is
+said to be a subterranean passage communicating with the
+Alhambra&mdash;blocked up, oddly enough, by the present owner of the site,
+without any exploration or examination.</p>
+
+<p>Entered from the Carrera de Darro is the once handsome Moorish bath
+house, now in the last stages of dilapidation and neglect. It is
+believed to date from the earliest period of Mohammedan rule. The arches
+are of the old horseshoe type, and the columns and capitals of a
+primitive order. An inscription beginning, “In the Name of God,<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> the
+Merciful, the Compassionate ...” may still be made out.</p>
+
+<p>The bath itself, the various chambers of repose and disrobing, the usual
+alhamies, can also be traced.</p>
+
+<p>The old Moorish mint was demolished in 1643, and the famous Gate of
+Bivarrambla can no longer be described in any sense as a Mohammedan
+work.</p>
+
+<p>The effacement of the Moorish character of Granada, as compared with its
+survival in Seville, serves to show how much more intense the religious
+and racial bias became in Spain during the two hundred and odd years
+that elapsed between the conquests of the two cities. The spirit in
+which St. Ferdinand, Alfonso el Sabio, and Pedro I. approached the works
+of their Mohammedan foes and subjects presented a very favourable
+contrast to that manifested by the Catholic sovereigns, Charles V. and
+Philip II.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
+
+<h3><a name="CATHOLIC_GRANADA" id="CATHOLIC_GRANADA"></a>CATHOLIC GRANADA</h3>
+
+<p class="nind"><span class="smcap">Almost</span> the first act performed by a Spanish king on his entry into a
+conquered Mohammedan city was to convert the chief mosque (aljama) into
+a Christian church. This was also done at Granada, but the chapel of the
+Alhambra remained for some time the cathedral of the new See. The mosque
+in the city, afterwards elevated to that rank, is described by the Abbé
+Bertaut of Rouen (quoted by Valladar), writing in 1669, as “square, or
+rather longer than wide, without vaults, and the roof covered with
+tiles, which for the most part were not even joined. The whole was
+supported by a number of small stone columns, harmoniously arranged.”
+Jorquera says the mosque was composed of five low naves. Whether or not
+it was originally a Visigothic church, as some writers pretend, the
+temple probably dated from the earliest centuries of the Muslim
+occupation, and the tower which contained the mihrab was long famous as
+the Torre Turpiana.</p>
+
+<p>The building, after serving the purposes of the Catholic rite for two
+centuries, disappeared between 1705 and 1759 to make room for the<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span>
+present sacristia (sacristy). As a cathedral, it had been superseded by
+the adjoining and existing edifice, dedicated on August 17, 1561.</p>
+
+<p>Older by about a quarter of a century than the foundations of the
+cathedral is the Royal Chapel (Capilla Real), which is the most striking
+and interesting memorial of the Conquest of Granada. It was begun in
+1505 as a mausoleum for the Catholic sovereigns, Ferdinand and Isabella,
+under the direction of the famous Enrique Egas, and completed in the
+year 1517&mdash;a year after the king’s death and thirteen years after the
+queen’s. The chapel is shaped like a Latin cross, and is one of the
+latest specimens of the Spanish Gothic style. It is a comparatively
+modest and simple building, contrasting strongly with the ornate and
+elaborate structures of the succeeding age. The decoration of the
+interior consists almost entirely in a frieze bearing a long inscription
+in gilt letters which reads: “This chapel was ordered to be built by the
+most Catholic Don Ferdinand and Doña Isabella,” &amp;c. &amp;c. There is a
+suggestion of Gothic influence in the magnificent railing or grille,
+partly of iron, partly gilt, which divides the nave from the transept,
+and was made in 1522 by Maestre Bartolome. The kneeling figures of the
+Catholic sovereigns are seen on either side of the high altar. These,
+says Ford, “are very remarkable, being exact<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> representations of their
+faces, forms, and costumes: behind Ferdinand is the victorious banner of
+Castile, while the absorbing policy for which both lived and died&mdash;the
+conquest of the Moor and the conversion of the infidel&mdash;are embodied
+beneath them in singular painted carvings; these have been attributed to
+Felipe Vigarny, and are certainly of the highest antiquarian interest.
+In that which illustrates the surrender of the Alhambra, Isabel is
+represented riding on a white palfrey between Ferdinand and the great
+Cardinal Mendoza, who sits on his trapped mule, like Wolsey. He alone
+wears gloves; his pinched aquiline face contrasts with the chubbiness of
+the king and queen. He opens his hand to receive the key, which the
+dismounted Boabdil presents, holding it by the wards. Behind are ladies,
+knights, and halberdiers, while captives come out of the gates in pairs.
+Few things of the kind in Spain are more interesting. The other
+basso-relievo records the ‘Conversion of the Infidel’; in it the
+reluctant flock is represented as undergoing the ceremony of wholesale
+baptism, the principal actors being shorn monks. The mufflers and
+leg-wrappers of the women&mdash;the Roman <i>fasciæ</i>&mdash;are precisely those still
+worn at Tetuan by their descendants.”</p>
+
+<p>These reliefs are unquestionably more vigorous and artistic, and also
+more in harmony with the structure generally, than the gorgeous
+Renais<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span>sance cenotaphs of Ferdinand and Isabella&mdash;most probably the work
+of the Spanish sculptor, Bartolome Ordoñez. The two great sovereigns are
+shown lying side by side, the faces expressing infinite dignity and
+repose. At each corner of the sepulchre is seated one of the four
+Doctors of the Church, below whom is a Sphinx. Medallions on two of the
+four sides represent respectively the Baptism and Resurrection of Jesus,
+and St. George and St. James. Beautifully done are the figures of the
+Twelve Apostles, the escutcheons, and, in fact, all the details of this
+grandiose but unimpressive monument.</p>
+
+<p>The adjacent sepulchre of Ferdinand and Isabella’s daughter, the unhappy
+Queen Juana, and of her husband, Philip I., the Handsome, is inferior in
+design and execution. The heads of the recumbent figures are not
+faithful portraits. The reliefs represent the Nativity, the Adoration of
+the Magi, the Agony in the Garden, and the Entombment. In the niches are
+figures of the Cardinal Virtues (not conspicuous in Philip during life),
+and at the corners the statues of Saints Michael, George, Andrew, and
+John the Divine. Very beautiful are the figures of children, and much of
+the heraldic decoration. The whole is in the most florid style of the
+Renaissance, and was carved at Genoa by order of Juana’s son, Charles
+V.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p>
+
+<p>Very different are the actual resting-places of the sovereigns so
+gorgeously commemorated in stone above. Descending to a narrow vault
+beneath the cenotaphs, we find five rude coffins, with iron bands.
+Herein repose the remains of Ferdinand and Isabella, of Juana and
+Philip, and of their son, Prince Juan. Ferdinand’s coffin may be
+identified by the letter F. “Here,” writes Pi Margall, “lie together in
+the dim light fathers and sons, monarchs of three dynasties united in
+less than a century for the greater glory of the fatherland; here lie
+the last princes of the Mediæval Age, and those who at its close
+inaugurated the Modern Era. Here they lie&mdash;heroes and fathers of
+heroes&mdash;kings who never retreated before the face of danger, and queens
+whose lives were consumed in the fire of profound love; fortunate ones
+who, returning from the battle, found rest and refreshment in the arms
+of their beloved; and unhappy souls who drained the cup of suffering,
+without finding in the dregs even that lethargy which the excess of
+grief procures for some. Who can enter this murky precinct without
+feeling his heart swayed by contrary emotions&mdash;without inclining with
+reverence before the lead which covers the men who rescued the nations
+from the anarchy of feudalism? While a tear may drop on the bier of that
+great princess [Isabella], who can restrain his pity for<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> that unhappy
+queen [Juana] who, intoxicated with love, passed the night waiting for
+the dawn to break that she might go forth, alone, to the ends of the
+world, in search of her adored husband, and would not leave his coffin
+till the tomb had closed upon it?”</p>
+
+<p>We leave these great and unhappy ones of a bygone age, passing away to
+nothingness in their last dark palace, and ascend to the chapel. There
+is not much more to see. In the sacristy are preserved the crown and
+sceptre of the Catholic queen, the sword of Ferdinand, and some rich
+Gothic vestments. Over an altar on the south side is a <i>Descent from the
+Cross</i>, of which Ford speaks highly. The Chapel Royal communicates with
+the cathedral by a noble portal in the Late Gothic style. The pillars on
+each side are adorned by the statues of kings-at-arms. Above the
+entrance an eagle upholds the Arms of Spain. Heraldic devices, religious
+emblems, and reliefs of saints and cherubim are mingled in the
+decoration, which is beautiful and not over-elaborate.</p>
+
+<p>The Chapel Royal, though architecturally forming part of the cathedral
+building, has an entirely independent ecclesiastical organisation of its
+own, with its own chapter and clergy. Amusing instances are recorded of
+the bad blood existing between the cathedral canons and the royal
+chaplains. This enmity (says Valladar)<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> was carried so far that once,
+when the Archbishop Carrillo de Alderete wished to visit the chapel,
+attended by his canons, the chaplains refused to admit them. The
+archbishop accordingly caused the disobliging priests to be arrested,
+whereupon a long lawsuit ensued. The chaplains had the right of passage
+across the cathedral transept to the Puerta del Perdon, which is the
+official or state entrance to the royal mausoleum&mdash;a privilege which
+seems to have galled the canons to the quick. Strange that such
+ludicrous bickerings should have arisen out of a foundation which
+commemorates the grandest and most epoch-making events in the national
+history. Truly from the sublime to the ridiculous there is but one step.</p>
+
+<h4><span class="smcap">The Cathedral</span></h4>
+
+<p>The Cathedral of Granada was built adjoining and connecting with the
+Chapel Royal and sacristy or old mosque, between the years 1523 and
+1561. Charles V. preferred the Gothic style, but at last consented to
+the adoption of the designs of Diego de Siloe. The church is described
+by Ford as one of the finest examples of the Græco-Roman style, but the
+plan is distinctly Gothic, nor can the edifice be said to deserve the
+description, “the most magnificent temple in Europe after the Vatican.”
+It is impressive in its severity<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> and vastness, and may be described as
+dignified rather than beautiful.</p>
+
+<p>The façade, said to have been designed by Alonso Cano, is flanked by
+towers (one unfinished) and divided by four huge stone columns which
+support a cornice. On this rest four pillars, sustaining three deep,
+gloomy vaultings. At the foot of these pillars, on the cornice, are
+statues of the Apostles. The principal door is adorned with a high
+relief of the Incarnation by Risueño, the side-doors with reliefs of the
+Annunciation and Assumption. The tower on the left rises seventy-five
+metres above the level of the present floor; its three stages are in the
+three styles of Grecian architecture respectively.</p>
+
+<p>The walls of the Cathedral are, to a great extent, hidden, as is so
+often the case on the Continent, by adjoining buildings. The Puerta del
+Perdon, which, as we have said, officially belongs to the Chapel Royal,
+is Diego de Siloe’s masterpiece, and is elaborately sculptured. Over the
+arch two allegorical figures uphold a tablet on which is inscribed a
+dedication to the Catholic monarchs. The great flanking columns of the
+portal are decorated with huge escutcheons. The introduction of heraldic
+symbols into religious architecture is nowhere more conspicuous than at
+Granada.</p>
+
+<p>The interior of the church, which is paved with<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> black and white marble,
+is composed of five naves with a cross-vaulting in the Gothic style,
+supported by five piers, each of which is composed of four Corinthian
+pillars. Above the high altar at the east end of the structure rises a
+noble dome, 220 ft. high, resting on eight pillars, and opening with a
+bold main arch, 190 ft. high. The expansion of the Capilla Mayor
+(principal chapel) at this point into the segment of a circle is a
+clever feat of architecture. Lafuente says, “The daring of the main arch
+is admirable, the way it is contrived creating a wonderful effect:
+looking at it from the elliptical arches it appears to be extended and
+on the point of falling away through having sunk below its level.”</p>
+
+<p>The Capilla Mayor is a handsome, profusely ornamented fabric, supported
+on twenty-two Corinthian columns in two courses. Between the lower
+columns are the elliptical arches referred to, and on the upper course
+are the seven beautiful paintings of scenes from the Blessed Virgin’s
+life, by Alonso Cano. Between the courses are interesting paintings by
+Juan de Sevilla and Bocanegra. Much of the statuary is good, and the
+Flemish stained glass in the fourteen windows is beautifully rich in
+colour and well executed. The high altar itself, the work of José de
+Bada, is in a depraved style; but its<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> badness is redeemed by the two
+kneeling statues of Ferdinand and Isabella on either side by Mena and
+Madrano, and by the bold, great heads of Adam and Eve, above the
+pulpits, carved and painted by Alonso Cano.</p>
+
+<p>In the centre of the middle nave, separated from the Capilla Mayor by
+the transept, is the choir, in that debased Churrigueresque style of
+which every one speaks ill. The only things notable within it are the
+fine organs, and the crucifix by Pablo de Rojas. Beneath the choir is
+entombed Alonso Cano (died 1667), one of the greatest of Andalusian
+painters, and a minor canon of the Cathedral.</p>
+
+<p>One of his most characteristic pictures&mdash;the <i>Virgén de la Soledad</i>&mdash;is
+to be seen over the altar of the Capilla de San Miguel (the first chapel
+on the right on entering the church). It was stolen in 1873, and
+recovered in the city shortly after. The chapel is beautifully adorned
+with red marbles and serpentine. It was built by that high-minded,
+beneficent prelate, Archbishop Moscoso, in 1804. His tomb is by the
+sculptor Folch. In the chapel are placed&mdash;we do not know why&mdash;two
+elegant Chinese vases.</p>
+
+<p>Between this and the next chapel is the entrance to the sacristy or old
+mosque, and to the left of it a small picture, before which that really
+saintly saint, St. John of God, was accustomed<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> to pray. The Capilla de
+la Trinidad has some good paintings, among them a <i>Trinity</i> by Cano, two
+miniatures on copper by the same artist, a <i>Death of St. Joseph</i> by
+Maratta, and copies of works by Raphael and Ribera. There are genuine
+Riberas (<i>The Child Jesus</i>, <i>St. Laurence</i>, and <i>St. Mary Magdalene</i>)
+and more works by Cano in the extravagant eighteenth-century chapel of
+Jesus Nazareno. After this comes the handsome Gothic door of the Chapel
+Royal, by Enrique Egas; and beyond that the Chapel of Santiago, with a
+fine equestrian statue of the Patron Saint of Spain, presented to the
+Cathedral by the City in 1640. The old painting of the Virgen del Perdon
+was given to Isabella the Catholic by Innocent VIII., and used to be
+carried about by the queen. It is publicly venerated (not worshipped or
+adored, please note) on the anniversary of the Reconquest, January 2.</p>
+
+<p>Passing the Cathedral sacristy with its handsome door by Siloe, we pause
+before the Puerta del Colegio. Behind the sculptured Ecce Homo, it is
+said Maeda carved a Lucifer of extraordinary beauty. He applied to Siloe
+for permission to give a proof of his skill, and was told by the testy
+architect to sculpture the Devil himself if he wanted to. Maeda was wag
+enough to take him at his word.</p>
+
+<p><span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p>
+
+<p>The chapel of Santa Ana covers the vault intended for the archbishops,
+and contains a good sixteenth-century altar-piece, and a St. Jean de
+Matha (a Frenchman, not a Spaniard) by Bocanegra. The six chapels that
+follow present no features of interest. The fourth chapel on the left
+side of the Cathedral is named La Virgen de la Antigua, after a Gothic
+image greatly venerated by Ferdinand the Catholic, and regarded with
+great reverence by the devout of Granada. Here are two portraits by Juan
+de Sevilla of Ferdinand and Isabella at prayer; the king is clad in
+armour. The paintings are in the Venetian style. Of the retablo by
+Cornejo, the less said the better. Cano’s realistic heads of Saints John
+and Paul reflect the fondness of the pietists of his day for the
+morbid&mdash;they are in the Chapel of the Virgen del Carmen. The first
+chapel, or baptistry, was erected by Adam and Aguado, at the expense of
+Archbishop Galvan, who is buried here near another occupant of the
+episcopal throne, Don Bienvenido Monzón. The fine reliefs of Saints
+Jerome and Isidore are by Mora. We have now reached the entrance doors,
+on each side of which hangs a good painting. The three pictures over the
+doors represent mystic allegories.</p>
+
+<p>The most interesting feature of the chapter room, or Sala Capitular, is
+the noble porch, with its figures of Justice and Prudence, which,<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> with
+the group of the Trinity, may be safely attributed to Maeda.</p>
+
+<p>Before leaving the Cathedral, the sacristy should be visited. It
+contains Cano’s <i>Assumption</i> and two small statues by him; a <i>Crucifix</i>
+by Montañez; a <i>Holy Family</i>, by Juan de Sevilla; and a <i>Mary
+Immaculate</i> by Bocanegra. The treasury contains some wonderfully
+embroidered vestments, and good, but not extraordinary, examples of the
+silversmith’s craft. The signet ring of Sixtus III., and the monstrance
+presented by Isabella, have of course, an historical interest.</p>
+
+<p>A casket is also shown to visitors, who are assured it is that in which
+were placed the jewels pawned by Isabella to provide funds for
+Columbus’s first voyage. If this is true, Pandora’s box was as nothing
+compared to this one! The Queen’s Missal, the work of Francisco Flores,
+is beautifully illuminated. It is placed on the high altar on the
+anniversary of the Reconquest. Those interested in arms will handle with
+curiosity the sword of Ferdinand the Catholic; the hilt has a spherical
+pommel and drooping quillons with branches towards the blade, which is
+grooved for about two-thirds of its length. Other relics of the Catholic
+sovereigns are their sceptre, Isabella’s crown, the royal standards used
+at the Reconquest, and a chasuble said to have been embroidered by the
+Queen.<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p>
+
+<p>By the door next to the Capilla de San Miguel we pass into the Sagrario
+(sacristy) occupying the site of the old mosque, which it replaced in
+1705. It was designed by Don Francisco Hurtado and Jose de Bada, and it
+is well that the responsibility for so meretricious a piece of
+architecture should be divided. It may be dismissed as Churrigueresque.
+It is not, fortunately, devoid of interest. In one of the chapels is
+buried “the magnificent cavalier, Fernando del Pulgar, Lord of El
+Salar,” as the inscription records. This valiant knight and true, during
+the last campaign against Granada, rode into the city with fifteen
+horsemen, and set a lighted taper on the floor of the mosque, and, as
+others say, nailed a paper bearing the Ave Maria on the door. This
+exploit earned for him and his descendants the extremely valuable
+privilege of wearing their hats in the Cathedral. De Pulgar’s bones have
+fared better than those of the good Archbishop de Talavera, which were
+scattered when the old mosque was demolished. The Sagrario possesses
+several good paintings, including a San José by Cano, of whose works the
+Cathedral buildings, as may have been noticed, contain a fine selection.
+By the door next to the Capilla de Pulgar, and a darkish passage, the
+Chapel Royal may be entered.</p>
+
+<p>The oldest purely Christian building in Granada is the convent and
+chapel of San Jeronimo, a<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> foundation transferred here from Santa Fé
+immediately after the Reconquest. The convent is now a cavalry barracks,
+and is not to be inspected by the curious. The church, built by Diego de
+Siloe, is in the form of a Latin cross&mdash;stern, plain, dignified. The
+walls are adorned with frescoes representing scenes from the Passion,
+portraits of the Fathers of the Church, and angels playing on the harp
+and singing. They were executed in 1723 by an obscure painter called
+Juan de Medina. Eight chapels open on the aisles and nave, one
+containing a fine retablo, with the Entombment as subject. The principal
+chapel exhibits Siloe’s skill at its best. He is said to have realised
+in its construction “his lofty ideal of effecting a truly Spanish
+Renaissance; an ideal which bore little fruit, since some of his
+followers confined themselves to the strictest classicism, others to the
+development of the plateresque.” Very much in the spirit of the
+Renaissance is the decoration of the chapel with the statues of the
+worthies of the classic world, Cæsar, Pompey, Hannibal, Homer, and
+others, side by side with Old Testament characters. Strange, this
+admiration for a pagan civilisation co-existent with violent religious
+fanaticism against all contemporary non-Catholics!</p>
+
+<p>The whole church was practically dedicated to the memory of Spain’s
+greatest soldier, the Great<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> Captain, Gonzalo de Cordova, who was buried
+here, but whose ashes have been transferred to Madrid. The hero and his
+duchess are shown, sculptured, kneeling in prayer on either side of the
+high altar, over which rises a magnificent retablo, divided into several
+compartments filled with reliefs and statues. The horizontal sections
+are in the Doric, Ionic, Corinthian, and composite Orders respectively.
+The lowest central compartment is occupied by the Tabernacle, the
+subjects of the three compartments immediately above being the
+Immaculate Conception, St. Jerome, and the Crucifixion. Over all is
+shown the figure of the Eternal Father. This splendid work, the best of
+its kind in Spain, seems to have been executed by a variety of artists,
+among them Juan de Aragon, Pedro de Orea, and Pedro de Raxis. The
+beautiful shell-like vaulting above is adorned with figures of the
+Apostles, of Saints Barbara, Katharine, Magdalen, and Lucy, and the
+warrior-saints, George, Eustace, Martin, Sebastian, and Francis. The
+sword given by the Pope to the Great Captain, formerly one of the
+treasures of the chapel, was carried off by Sebastiani during the
+Peninsular War.</p>
+
+<p>There are a great many beautiful things in this old church which seem to
+escape the ordinary traveller’s notice. The seats in the choir were
+designed by Siloe. The frescoes, representing the<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> Triumph of the
+Church, of the Virgin, and of the Eucharist, the Assumption, &amp;c., are
+very well done. The restoration of the fabric has often been denounced,
+but it is difficult to see how it could have been better carried out.</p>
+
+<p>In the neighbourhood of the Great Captain’s chapel is a monument to a
+hero and a great Spaniard of a very different type. Juan de Robles
+devoted himself to the sick and the suffering with a zeal which earned
+for him confinement in a madman’s cage. His virtues were recognised
+after his death, and procured him canonisation as St. John of God in
+1669. A tribute to his memory which he would have no doubt appreciated
+better is the large hospital founded two years after his death, that is,
+in 1552. The saint’s ashes, in a silver coffin, repose in the hospital
+chapel, a gorgeous structure, characterised by costliness and bad taste.
+The trail of the serpent of Spanish architecture&mdash;Churriguera&mdash;is over
+all. All that is interesting in it is the portrait of the saint, a copy
+of one in Madrid.</p>
+
+<p>The name of the Great Captain is associated with the Cartuja, or
+suppressed Carthusian monastery, the site of which was his gift. The
+monastery, begun in 1516, was pulled down in 1842. A small portion of
+the buildings, however, remains, together with the church. The single
+nave is disfigured by over-elaborate ornamentation<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> in the plateresque
+style. The doors of the choir are richly and tastefully inlaid with
+ebony and mother of pearl, cedar and tortoise-shell, and were the work
+of a friar, Manuel Vazquez, who died in 1765. The sanctuary, in the
+baroque style, is enriched with precious marbles, some richly veined
+with agates. On some of the slabs the hand of Nature has traced the
+semblances of human and animal forms. In the adjoining sacristy, various
+marbles have been combined so as to produce an effect dazzling and
+gorgeous in the extreme. The hall is certainly one of the most
+remarkable in Spain. Scarcely less marvellous are the exquisitely inlaid
+doors and presses. The generally bad style of the church is also
+redeemed by a statue of St. Bruno, the founder of the Carthusian Order,
+ascribed to Alonso Cano, and some pictures by Bocanegra, Giaquinto, and
+Cotán. The last named, a friar, was responsible for the pictures in the
+cloister, representing the martyrdom of Carthusian monks in London by
+the tyrant Henry VIII. and the brigands who acted as his officers.</p>
+
+<p>The Cartuja was formerly much richer in works of art, but, like San
+Jeronimo, it was ransacked by the French under Sebastiani, who
+exhibited, as on all occasions, the discrimination of a dilettante
+coupled with the rapacity of a bandit.<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p>
+
+<p>In front of the church of Santos Pedro y Pablo is a very handsome
+mansion built in 1539 for Hernando de Zafra, secretary of the Catholic
+sovereigns. The portal is in three stages: the first contains the
+entrance, a square doorway, between Doric columns; the second bears the
+escutcheons of the family, above them being sculptured griffins and
+lions; the third, a balcony between pilasters, carved in delicate
+relief. In a line with this is another balcony, bearing the curious
+inscription, <i>Esperandola del Cielo</i>&mdash;“Looking for it from Heaven.”
+These words are explained by a tragic legend. De Zafra is said to have
+suspected his daughter of a clandestine attachment. To satisfy his
+doubts, he burst into her room one day, and found her page assisting the
+lover to escape by the window. Baulked of his prey, the father turned,
+with death in his face, upon the boy. “Mercy!” shrieked the page. “Look
+for it in Heaven!” answered the Don, as he hurled his daughter’s
+accomplice from the balcony into the street below. So runs the legend.
+De Zafra does not appear, according to the records, to have left any
+children; but his daughter may not have survived the terrible
+consequences of her amour. “After all,” remarks Valladar, “nothing was
+easier in the sixteenth century than to throw a page out of the<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> window
+without attracting the attention of the police or magistrates.”</p>
+
+<p>Granada is by no means as rich in ancient churches and houses as
+Seville. The house of the Great Captain now forms part of the convent of
+Carmelite nuns. On the façade a tablet sets forth that “In this house
+lived, and on December 2, 1515, died, the Great Captain Don Gonzalo
+Fernandez de Aguilar y de Cordoba, Duke of Sessa, Terranova, and
+Santangelo, the Christian hero, and conqueror of the Moors, French, and
+Turks.”</p>
+
+<p>The early sixteenth-century Casa de los Tiros&mdash;the property, like the
+Generalife, of the Marques de Campotejar&mdash;seems to occupy the site, if
+it did not actually form part, of a Moorish fortified dwelling. Some
+think it was an advanced work of the fortifications known as the Torres
+Bermejas. The interior certainly shows Arabic influence. The staircase
+was probably built by Moors, and there are rich azulejos and a splendid
+<i>artesanado</i> hall. This is adorned with busts of various Spanish
+celebrities, with the graven heads of Moors and Christians, and with
+reliefs of Lucretia, Judith, Semiramis, and Penthesilea.</p>
+
+<p>In this house is preserved an Arabic sword with a magnificent hilt and
+scabbard, said to have belonged to Boabdil. The scabbard, at all events,
+is unquestionably of workmanship<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> posterior to the Reconquest; and it is
+well to be a little on one’s guard in the matter of the numerous relics
+ascribed to the last Moorish king.</p>
+
+<p>Of old Granada, in truth, not much more remains than the buildings we
+have already named. We may glance at the tower of San Juan de los Reyes,
+so badly restored that its peculiar Moorish architecture, more markedly
+Eastern than that of any other Grenadine monument, has been almost
+entirely effaced. And in the old Casa de Ayuntamiento there are some
+historical curiosities, notably the original draft of the charter
+granted to Granada by the Catholic sovereigns, and the handsome official
+shield of the city. Many sites, such as the Plaza de Bibarrambla,
+commemorated in the songs and stories of old Spain, have been completely
+modernised. But there is a monument&mdash;a simple column surmounted by an
+iron cross&mdash;more deeply interesting than any reared by the Moors. The
+inscription on the pedestal records that on this spot, on May 26, 1831,
+Doña Mariana Pineda was publicly garroted at the age of thirty-two
+years. She died a martyr for liberty and a victim of the strange
+absolutist frenzy which did much to ruin Spain in Ferdinand VII.’s
+reign. Doña Mariana’s house had been a centre for liberal gatherings,
+and when raided by the police<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> was found to contain a tricolour flag.
+She met her death with a courage worthy of her cause. Five years later,
+when the nation had recovered its sanity, her ashes were carried in
+state to the Ayuntamiento. The magistrate who had condemned her was in
+his turn executed. On the same site many Spanish patriots were shot by
+the French&mdash;their labour and their lives being given to replace
+Ferdinand VII. on the throne. The square, formerly called the Campillo,
+is now named after Mariana Pineda. You may see there her statue in
+marble, sculptured by Marna and Morales.</p>
+
+<p>The hill called the Sacro Monte is a curious memorial of human
+credulity. In 1594 one Francisco Hernandez reported to the Archbishop
+Don Pedro Vaca de Castro that he had discovered the relics of several
+local martyrs in the caves here. A church of no architectural merit was
+raised on the spot, and became a place of pilgrimage&mdash;the evidence that
+the martyrs referred to had ever existed being meanwhile wanting. Within
+the church are preserved some leaden books, inscribed in Arabic
+characters, and supposed to contain the acts, of the saints. These works
+were the subject of a furious controversy in the seventeenth century.
+The caves are interesting on account of their natural peculiarities, and
+were quite probably catacombs used by<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> the early Christians of
+Illiberis. Some rocks may be noticed, in parts worn away by the repeated
+kisses of devotees. There is a superstition that the person who kisses
+the stone the first time will marry within the year, and that a second
+kiss will ensure to those already married an early dissolution of the
+conjugal tie.</p>
+
+<p>On the opposite side of the city, also in the outskirts, is a little
+Mohammedan oratory, now disfigured and restored beyond recognition. It
+is called the Ermita de San Sebastian, and was the place where Boabdil
+gave up the keys of Granada to Ferdinand and Isabel.</p>
+
+<p>When we walk through the streets of the modern Granada, with its tawdry
+churches and commonplace private houses, it does not seem that the city
+has gained much by its change of masters. But its decline was not at
+least very marked till many years after the Reconquest. The French
+invasion, and still more the ruin of the silk industry, completely
+undermined the prosperity of the place. During the last century it lost
+its rank as the seat of a Captain General. But a new day is dawning for
+the proudest city of the Moor, as for all Spain. Granada is content no
+longer to brood over its splendid past; indeed, its citizens seem to
+prize but lightly the monuments of those days. There is a general
+appearance of wealth and elegance about the promenaders<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> on the broad,
+well-lighted paseos; and, thanks to the newly introduced manufacturing
+industry of beetroot sugar, the Vega has already resumed the flourishing
+smiling aspect it wore when a Mohammedan amir called it his and the cry
+of the muezzin was heard from a hundred minarets.<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p>
+
+<p><span class="pagenum"><a name="page_90" id="page_90">{90}</a></span></p>
+
+<h2><a name="PLAN_OF_GRANADA" id="PLAN_OF_GRANADA"></a>PLAN OF GRANADA</h2>
+<p class="c">REFERENCE TO PLAN OF GRANADA<br />
+<small>BUILDINGS AND PLACES</small></p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="">
+<tr><td class="rt">1.</td><td>Hospital of San Lázaro.</td></tr>
+<tr><td class="rt">2.</td><td> Church of San Juan de Letran.</td></tr>
+<tr><td class="rt">3.</td><td> Hermitage of Santo Cristo de Yedra.</td></tr>
+<tr><td class="rt">4.</td><td> San Bruno and the Cartuja.</td></tr>
+<tr><td class="rt">5.</td><td> The Sacro Monte.</td></tr>
+<tr><td class="rt">6.</td><td> The Holy Tomb.</td></tr>
+<tr><td class="rt">7.</td><td> Cavalry Barracks, and San Jerónimo.</td></tr>
+<tr><td class="rt">8.</td><td> San Juan de Dios.</td></tr>
+<tr><td class="rt">9.</td><td> San Juan de Dios (Street).</td></tr>
+<tr><td class="rt">10.</td><td> Lunatic Asylum.</td></tr>
+<tr><td class="rt">11.</td><td> Bull Ring. (Plaza de Toros.)</td></tr>
+<tr><td class="rt">12.</td><td> San Ildefonso, and Avenue del Triunfo.</td></tr>
+<tr><td class="rt">13.</td><td> Pay Office.</td></tr>
+<tr><td class="rt">14.</td><td> Gate of Elvira.</td></tr>
+<tr><td class="rt">15.</td><td> Gate of Monaita.</td></tr>
+<tr><td class="rt">16.</td><td> San Andrés.</td></tr>
+<tr><td class="rt">17.</td><td> Children’s Hospital.</td></tr>
+<tr><td class="rt">18.</td><td> Office for Civil Affairs.</td></tr>
+<tr><td class="rt">19.</td><td> Santos Justo and Pastor.</td></tr>
+<tr><td class="rt">20.</td><td> Institute of Music.</td></tr>
+<tr><td class="rt">21.</td><td> Botanical Garden and Nunnery of Piety.</td></tr>
+<tr><td class="rt">22.</td><td> Square of Rull and Godines.</td></tr>
+<tr><td class="rt">23.</td><td> Convent of the Incarnation.</td></tr>
+<tr><td class="rt">24.</td><td> Santa Paula.</td></tr>
+<tr><td class="rt">25.</td><td> Elvira (Street).</td></tr>
+<tr><td class="rt">26.</td><td> San Jerónimo.</td></tr>
+<tr><td class="rt">27.</td><td> Orlando’s Balcony.</td></tr>
+<tr><td class="rt">28.</td><td> San Diego.</td></tr>
+<tr><td class="rt">29.</td><td> San Gregorio.</td></tr>
+<tr><td class="rt">30.</td><td> San Luis.</td></tr>
+<tr><td class="rt">31.</td><td> Arab Ramparts.</td></tr>
+<tr><td class="rt">32.</td><td> San Miguel the Greater.</td></tr>
+<tr><td class="rt">33.</td><td> Gate of the Standards.</td></tr>
+<tr><td class="rt">34.</td><td> El Salvador.</td></tr>
+<tr><td class="rt">35.</td><td> San José.</td></tr>
+<tr><td class="rt">36.</td><td> Convent of the Angel.</td></tr>
+<tr><td class="rt">37.</td><td> Ecclesiastical College.</td></tr>
+<tr><td class="rt">38.</td><td> The Cathedral.</td></tr>
+<tr><td class="rt">39.</td><td>  High School and Palace of the Province of Granada.</td></tr>
+<tr><td class="rt">40.</td><td> School of Economics.</td></tr>
+<tr><td class="rt">41.</td><td> Market Place, and Palace of the Archbishop.</td></tr>
+<tr><td class="rt">42.</td><td> Court of First Instance (Plaza Rib-Rambla).</td></tr>
+<tr><td class="rt">43.</td><td> Convent of Augustines and La Magdalena.</td></tr>
+<tr><td class="rt">44.</td><td> House of Grace.</td></tr>
+<tr><td class="rt">45.</td><td> Puentezuelas (Bridge).</td></tr>
+<tr><td class="rt">46.</td><td> Square of Marshal Prim.</td></tr>
+<tr><td class="rt">47.</td><td> Town Hall.</td></tr>
+<tr><td class="rt">48.</td><td> Santa Teresa.</td></tr>
+<tr><td class="rt">49.</td><td> Convent of the Holy Spirit.</td></tr>
+<tr><td class="rt">50.</td><td> Military Office.</td></tr>
+<tr><td class="rt">51.</td><td> Carmelite Convent.</td></tr>
+<tr><td class="rt">52.</td><td> Hospital for Leprosy.</td></tr>
+<tr><td class="rt">53.</td><td> Santa Ana.</td></tr>
+<tr><td class="rt">54.</td><td> Santa Inés.</td></tr>
+<tr><td class="rt">55.</td><td> Convent of the Conception.</td></tr>
+<tr><td class="rt">56.</td><td>San Juan de los Reyes.</td></tr>
+<tr><td class="rt">57.</td><td>Ex-Convent of The Victory.</td></tr>
+<tr><td class="rt">58.</td><td>Watch-tower of the Alhambra (Torre de la Vela).</td></tr>
+<tr><td class="rt">59.</td><td>The Alhambra.</td></tr>
+<tr><td class="rt">60.</td><td>Gate of Las Granadas.</td></tr>
+<tr><td class="rt">61.</td><td>Gate of Judiciary Astrology (Judiciária).</td></tr>
+<tr><td class="rt">62.</td><td>The Generalife.</td></tr>
+<tr><td class="rt">63.</td><td>Gate of Hierro.</td></tr>
+<tr><td class="rt">64.</td><td>San Francisco (formerly Convent of St. Francis).</td></tr>
+<tr><td class="rt">65.</td><td>The Chair of the Moor (Silla del Moro).</td></tr>
+<tr><td class="rt">66.</td><td>The  Tower of the Seven Storeys (Alhambra).</td></tr>
+<tr><td class="rt">67.</td><td>The Fountain of Expiation.</td></tr>
+<tr><td class="rt">68.</td><td>Gate of the Sun.</td></tr>
+<tr><td class="rt">69.</td><td>Convent of Santa Catalina.</td></tr>
+<tr><td class="rt">70.</td><td>Ecce Homo.</td></tr>
+<tr><td class="rt">71.</td><td>San Cecilio, and Military Hospital.</td></tr>
+<tr><td class="rt">73.</td><td>Santa Escolástica.</td></tr>
+<tr><td class="rt">74.</td><td>Capuchin Convent and Santa Maria Egipciaca.</td></tr>
+<tr><td class="rt">75.</td><td>San Anton.</td></tr>
+<tr><td class="rt">76.</td><td>Gas Works.</td></tr>
+<tr><td class="rt">77.</td><td>Public Shambles.</td></tr>
+<tr><td class="rt">78.</td><td>San Sebastián and Avenue del Violón.</td></tr>
+<tr><td class="rt">79.</td><td>Las Angustias.</td></tr>
+<tr><td class="rt">80.</td><td>El Salon.</td></tr>
+<tr><td class="rt">81.</td><td>Convent of Santiago.</td></tr>
+<tr><td class="rt">82.</td><td>Museum of the Academy of Fine Arts.</td></tr>
+<tr><td class="rt">83.</td><td>Monument of Mariana.</td></tr>
+<tr><td class="rt">84.</td><td>Artillery Barracks.</td></tr>
+<tr><td class="rt">85.</td><td>Principal Theatre (Plaza de Bailén).</td></tr>
+<tr><td class="rt">86.</td><td>New Square.</td></tr>
+<tr><td class="rt">87.</td><td>Zacatín.</td></tr>
+<tr><td class="rt">88.</td><td>Fish Market.</td></tr>
+<tr><td class="rt">89.</td><td>Church of Santiago.</td></tr>
+<tr><td class="rt">90.</td><td>San Nicolás.</td></tr>
+<tr><td class="rt">91.</td><td>Convent of Tomasas.</td></tr>
+<tr><td class="rt">92.</td><td>Bermeja Towers.</td></tr>
+<tr><td class="rt">93.</td><td>Palace of Charles V.</td></tr>
+<tr><td class="rt">94.</td><td>Gate of the Mills.</td></tr>
+<tr><td class="rt">95.</td><td>San Basil.</td></tr>
+<tr><td class="rt">96.</td><td>Recreation Grounds.</td></tr>
+<tr><td class="rt">97.</td><td>Cemetery.</td></tr>
+<tr><td class="rt">98.</td><td>Convent of San Bernado and Church of San Pedro.</td></tr>
+<tr><td class="rt">99.</td><td>San Bartolomé.</td></tr>
+<tr><td class="rt">100.</td><td>Avenue of San Basil.</td></tr>
+<tr><td class="rt">101.</td><td>San Cristóbal.</td></tr>
+<tr><td class="rt">102.</td><td>Hospital of Corpus Christi.</td></tr>
+<tr><td class="rt">103.</td><td>Santa Isabel la Real, and San Miguel the Less.</td></tr>
+<tr><td class="rt">104.</td><td>Santa Maria (Ancient Mosque of the Alhambra).</td></tr>
+<tr><td class="rt">105.</td><td>San Matías.</td></tr>
+<tr><td class="rt">106.</td><td>Gate of Fajalanza.</td></tr>
+<tr><td class="rt">107.</td><td>Méndez Nuñez (Street).</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<div class="caption"><p><b><big>GRANADA</big></b></p></div>
+<a href="images/map.jpg">
+<img src="images/map.jpg" height="550" alt="[Image unavailable.]" /></a>
+
+</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>
+
+<div class="figcenter" style="width: 600px;" id="plt_001">
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 1</p>
+
+<p>VIEW OF GRANADA, SHOWING THE ALHAMBRA AND THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_002">
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 2</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_003">
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 3</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE SACROMONTE ROAD</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_004">
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 4</p>
+
+<p>THE ALHAMBRA FROM THE MOOR’S SEAT&mdash;LA SILLA DEL MORO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_005">
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 5</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_98" id="page_98">{98}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_006">
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 6</p>
+
+<p>VIEW OF THE GATE OF ELVIRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_007">
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 7</p>
+
+<p>A VIEW OF THE ALHAMBRA FROM THE ALBAICIN (<i>Sketch</i>)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_100" id="page_100">{100}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_008">
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 8</p>
+
+<p>VIEW OF THE CATHEDRAL AND THE ALHAMBRA FROM SAN GERÓNIMO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_009">
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 9</p>
+
+<p>VIEW OF THE SIERRA NEVADA FROM THE CARRERA DE LAS ANGUSTIAS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_010">
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 10</p>
+
+<p>VIEW OF THE ROYAL GATE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_011">
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 11</p>
+
+<p>VIEW FROM THE TOWER IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_012">
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 12</p>
+
+<p>LA PLAZA NUEVA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_013">
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 13</p>
+
+<p>MONUMENT TO COLUMBUS IN THE PASEO DEL SALON; THE SIERRA NEVADA IN THE
+DISTANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_014">
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 14</p>
+
+<p><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p>
+
+<p>THE STREET OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_015">
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 15</p>
+
+<p>ARAB SILK MARKET</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_016">
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 16</p>
+
+<p>LA CASA DE LOS TIROS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_017">
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 17</p>
+
+<p>CHURCH OF SANTA ANA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_018">
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 18</p>
+
+<p>LIMOGES ENAMEL TRIPTYCH WHICH BELONGED TO THE <span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>GRAN CAPITÁN (PROVINCIAL
+MUSEUM, GRANADA)</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_019">
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 19</p>
+
+<p>ALTAR IN THE CHURCH OF SAN GERÓNIMO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_020">
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 20</p>
+
+<p>HOUSE IN THE CALLE DE DARRO THE PALACIO DE JUSTICIA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_021">
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 21</p>
+
+<p>THE HOUSE OF CASTRIL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_022">
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 22</p>
+
+<p>TYPICAL GYPSIES AND THEIR QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_023">
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 23</p>
+
+<p>GYPSIES IN FRONT OF THEIR DWELLINGS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_024">
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 24</p>
+
+<p>GYPSY DWELLINGS IN THE SACROMONTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_025">
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 25</p>
+
+<p>GENERAL VIEW OF THE GYPSY QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_026">
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 26</p>
+
+<p>INTERIOR OF A GYPSY’S CAVE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_027">
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 27</p>
+
+<p>GROUP OF GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_028">
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 28</p>
+
+<p>A GYPSY FAMILY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_029">
+<a href="images/plt_029.jpg">
+<img src="images/plt_029.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 29</p>
+
+<p>GYPSIES BIVOUACKING</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_030">
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 30</p>
+
+<p>GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_031">
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 31</p>
+
+<p>GYPSIES CLIPPING A MULE</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_032">
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 32</p>
+
+<p>GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_033">
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 33</p>
+
+<p>GYPSIES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_034">
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 34</p>
+
+<p>GYPSY DANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_035">
+<a href="images/plt_035.jpg">
+<img src="images/plt_035.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 35</p>
+
+<p>INTERIOR OF THE SACRISTY OF THE CARTUJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_036">
+<a href="images/plt_036.jpg">
+<img src="images/plt_036.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 36</p>
+
+<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<p>INTERIOR OF THE CARTUJA. THE SACRISTY</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_037">
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 37</p>
+
+<p>INTERIOR OF THE CARTUJA CHURCH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_038">
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 38</p>
+
+<p>SAINT BRUNO, BY ALONSO CANO, AT THE CARTHUSIAN MONASTERY OF GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_039">
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 39</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_040">
+<a href="images/plt_040.jpg">
+<img src="images/plt_040.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 40</p>
+
+<p>THE GATE OF PARDON AND THE EXTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_041">
+<a href="images/plt_041.jpg">
+<img src="images/plt_041.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 41</p>
+
+<p>FAÇADE OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_042">
+<a href="images/plt_042.jpg">
+<img src="images/plt_042.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 42</p>
+
+<p>EXTERIOR GATE OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_043">
+<a href="images/plt_043.jpg">
+<img src="images/plt_043.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 43</p>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<p>DETAIL IN THE ROYAL CHAPEL</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_044">
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 44</p>
+
+<p>ANCIENT GOTHIC ENTRANCE TO THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_045">
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 45</p>
+
+<p>GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL, UPPER PART</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_046">
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 46</p>
+
+<p>GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_047">
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 47</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p>
+
+<p>FAÇADE OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_048">
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 48</p>
+
+<p>GENERAL VIEW OF THE INTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_049">
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 49</p>
+
+<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_050">
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 50</p>
+
+<p>THE CATHEDRAL. VIEW OF THE PRINCIPAL NAVE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_051">
+<a href="images/plt_051.jpg">
+<img src="images/plt_051.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 51</p>
+
+<p>THE HIGH ALTAR IN THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_052">
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 52</p>
+
+<p>ALTAR-PIECE IN THE ROYAL CHAPEL, BY F. DE BORGOÑA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_053">
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 53</p>
+
+<p>THE CATHEDRAL. BOABDIL GIVING UP THE KEYS OF GRANADA TO THE CATHOLIC
+SOVEREIGNS. FRAGMENT OF THE ALTAR-PIECE IN THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_054">
+<a href="images/plt_054.jpg">
+<img src="images/plt_054.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 54</p>
+
+<p>THE INNER CHOIR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_055">
+<a href="images/plt_055.jpg">
+<img src="images/plt_055.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 55</p>
+
+<p>THE CATHEDRAL. TOMBS OF THE CATHOLIC SOVEREIGNS IN THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_056">
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 56</p>
+
+<p>VIEW OF THE ROYAL CHAPEL AND TOMBS OF THE CATHOLIC SOVEREIGNS, BY P.
+GONZALVO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_057">
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 57</p>
+
+<p>ROYAL CHAPEL. TOMBS OF FERDINAND AND ISABELLA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_058">
+<a href="images/plt_058.jpg">
+<img src="images/plt_058.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 58</p>
+
+<p>VAULT OF THE CATHOLIC SOVEREIGNS AT GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_059">
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 59</p>
+
+<p>TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_060">
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 60</p>
+
+<p>TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_061">
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 61</p>
+
+<p>SCEPTRE, CROWN, SWORD, MASS-BOOK, AND COFFER OF THE CATHOLIC
+SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_062">
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 62</p>
+
+<p>RELICS OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_063">
+<a href="images/plt_063.jpg">
+<img src="images/plt_063.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 63</p>
+
+<p>ROYAL CHAPEL. STATUE OF QUEEN ISABELLA THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_064">
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 64</p>
+
+<p>STATUE OF ISABELLA THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_065">
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 65</p>
+
+<p>CHAPEL OF SAN MIGUEL IN THE CATHEDRAL, MARBLE SCULPTURE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_066">
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 66</p>
+
+<p>Plan of the Alhambra Palace at Granada</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_067">
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 67</p>
+
+<p>GENERAL PLAN OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_068">
+<a href="images/plt_068.jpg">
+<img src="images/plt_068.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 68</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_069">
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 69</p>
+
+<p>THE RED TOWERS FROM THE RAMPARTS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_070">
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 70</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE SACROMONTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_071">
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 71</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA AND ALGIBILLO PROMENADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_072">
+<a href="images/plt_072.jpg">
+<img src="images/plt_072.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 72</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE CUESTA DEL CHAPIZ</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_073">
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 73</p>
+
+<p>THE RED TOWERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_074">
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 74</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_075">
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 75</p>
+
+<p>THE TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_076">
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 76</p>
+
+<p>THE INFANTAS’ TOWER AND CAPTIVE’S TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_077">
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 77</p>
+
+<p>VIEW OF THE WATCH TOWER AND GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_078">
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 78</p>
+
+<p>VIEW OF THE RAMPARTS AND THE WATCH TOWER.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a> </span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_079">
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 79</p>
+
+<p>THE AQUEDUCT TOWER AND THE AQUEDUCT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_080">
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 80</p>
+
+<p>THE GATE OF JUSTICE. DETAIL OF A DOOR IN THE COURT OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_081">
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 81</p>
+
+<p>THE ALHAMBRA AND THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_082">
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 82</p>
+
+<p>GRANADA, FROM THE HOMAGE TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_083">
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 83</p>
+
+<p>“THE QUEEN’S DRESSING-ROOM,” AT THE SUMMIT OF THE MIHRAB TOWER, WITH
+DISTANT VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_084">
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 84</p>
+
+<p>THE GATE OF JUSTICE, ERECTED BY YUSUF I</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_085">
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 85</p>
+
+<p>THE TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_086">
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 86</p>
+
+<p>THE CAPTIVE’S TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_087">
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 87</p>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<p>EXTERIOR OF THE MOSQUE, PRIVATE PROPERTY</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_088">
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 88</p>
+
+<p>TOWER OF THE AQUEDUCT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_089">
+<a href="images/plt_089.jpg">
+<img src="images/plt_089.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 89</p>
+
+<p>ASCENT TO THE ALHAMBRA BY THE CUESTA DEL REY CHICO&mdash;LESSER KING HILL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_090">
+<a href="images/plt_090.jpg">
+<img src="images/plt_090.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 90</p>
+
+<p>THE LADIES’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_091">
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 91</p>
+
+<p>PART OF THE ALHAMBRA, EXTERIOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_092">
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 92</p>
+
+<p>THE HOMAGE TOWER. ANCIENT ARAB RUINS IN THE ALCAZÁBA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_093">
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 93</p>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<p>GATE OF JUSTICE. THE ALHAMBRA</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_094">
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 94</p>
+
+<p>GATE OF JUSTICE (<i>Sketch</i>)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_095">
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 95</p>
+
+<p>THE GATE OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_096">
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 96</p>
+
+<p>PLAN, HEIGHT AND DETAILS OF THE GATE OF THE LAW COMMONLY CALLED OF
+JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_097">
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 97</p>
+
+<p>ELEVATION OF THE ANCIENT GATE OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_098">
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 98</p>
+
+<p>PORTAL COMMONLY CALLED THE GATE OF THE VINE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_099">
+<a href="images/plt_099.jpg">
+<img src="images/plt_099.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 99</p>
+
+<p>PORCH OF THE GATE OF JUDGMENT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_100">
+<a href="images/plt_100.jpg">
+<img src="images/plt_100.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 100</p>
+
+<p>ELEVATION OF THE WINE GATE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_101">
+<a href="images/plt_101.jpg">
+<img src="images/plt_101.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 101</p>
+
+<p>TRANSVERSE SECTION OF PART OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_102">
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 102</p>
+
+<p>SECTION SHOWING</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_103">
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 103</p>
+
+<p>HEIGHTS OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_104">
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 104</p>
+
+<p>PROMENADES AT THE ENTRANCE TO ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_105">
+<a href="images/plt_105.jpg">
+<img src="images/plt_105.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 105</p>
+
+<p>THE HALL OF JUSTICE AND COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_106">
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 106</p>
+
+<p>HALL OF JUSTICE. LEFT SIDE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_107">
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 107</p>
+
+<p>HALL OF JUSTICE, SHOWING FOUNTAIN OF COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_108">
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 108</p>
+
+<p>SECTION OF THE HALL OF JUSTICE (LOOKING EAST)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_109">
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 109</p>
+
+<p>SECTION OF THE HALL OF JUSTICE (LOOKING TOWARDS THE COURT OF THE
+LIONS)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_110">
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 110</p>
+
+<p>VERTICAL SECTION OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_111">
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 111</p>
+
+<p>DETAILS OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_112">
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 112</p>
+
+<p>PLAN AND WINDOW OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_113">
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 113</p>
+
+<p>PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 1</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_114">
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 114</p>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<p>PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 3</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_115">
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 115</p>
+
+<p>PART OF PICTURE IN THE HALL OF JUSTICE&mdash;THE MOOR’S RETURN FROM HUNTING</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_116">
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 116</p>
+
+<p>HALL OF JUSTICE&mdash;THE DEATH OF THE LION AT THE HANDS OF A CHRISTIAN
+KNIGHT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_117">
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 117</p>
+
+<p>PART OF PICTURE IN THE HALL OF JUSTICE REPRESENTING A CHRISTIAN KNIGHT
+RESCUING A MAIDEN FROM A WICKED MAGICIAN, OR WILD-MAN-O’-THE-WOODS. THE
+CHRISTIAN <span class="pagenum"><a name="page_210" id="page_210">{210}</a></span>KNIGHT IS, IN TURN, SLAIN BY A MOORISH WARRIOR</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_118">
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 118</p>
+
+<p>PART OF PICTURE IN HALL OF JUSTICE&mdash;MOORISH HUNTSMAN SLAYING THE WILD
+BOAR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_119">
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 119</p>
+
+<p>HALL OF JUSTICE&mdash;THREE FIGURES FROM THE PICTURE OF THE MOORISH
+TRIBUNAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_120">
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 120</p>
+
+<p>THE MOSQUE AND GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_121">
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 121</p>
+
+<p>COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_122">
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 122</p>
+
+<p>FAÇADE OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_123">
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 123</p>
+
+<p>INTERIOR OF THE MOSQUE IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_124">
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 124</p>
+
+<p>INTERIOR OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_125">
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 125</p>
+
+<p>ELEVATION OF THE PORTICO ADJACENT TO THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_126">
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 126</p>
+
+<p>DETAIL OF THE ENTRANCE DOOR OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_127">
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 127</p>
+
+<p>AN ARCHED WINDOW OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_128">
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 128</p>
+
+<p>AN ARCHED WINDOW OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_129">
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 129</p>
+
+<p>THE KORAN RECESS IN THE MOSQUE, THE SCENE OF YUSUF’S ASSASSINATION</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_130">
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 130</p>
+
+<p>THE MOSQUE FROM KORAN RECESS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_131">
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 131</p>
+
+<p>DETAILS OF ORNAMENT OF KORAN RECESS NEAR THE ENTRANCE DOOR OF THE
+MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_132">
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 132</p>
+
+<p>CORNICE AND WINDOW IN THE FAÇADE OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_133">
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 133</p>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<p>VERTICAL SECTION OF THE MOSQUE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_134">
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 134</p>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<p>ARAB LAMP IN MOSQUE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_135">
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 135</p>
+
+<p>DETAILS OF THE FRONT OF THE MOSQUE OF THE HAREM</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_136">
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 136</p>
+
+<p>DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_137">
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 137</p>
+
+<p>DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_138">
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 138</p>
+
+<p>ORNAMENT IN PANELS, COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_139">
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 139</p>
+
+<p>WINDOW IN THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_140">
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 140</p>
+
+<p>ENTRANCE TO THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_141">
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 141</p>
+
+<p>HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_142">
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 142</p>
+
+<p>SECTION AND ELEVATION OF THE INTERIOR OF THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_143">
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 143</p>
+
+<p>ENCAUSTIC-TILE WORK OF THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_144">
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 144</p>
+
+<p>ORNAMENT IN PANELS, HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_145">
+<a href="images/plt_145.jpg">
+<img src="images/plt_145.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 145</p>
+
+<p>INSCRIPTIONS IN THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_146">
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 146</p>
+
+<p>KUFIC INSCRIPTIONS, HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_147">
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 147</p>
+
+<p>“WA LA GHÁLIB ILA ALÁ!”&mdash;THERE IS NO CONQUEROR BUT GOD!&mdash;THE FAMOUS
+MOTTO OF MOHAMMED I. AND HIS SUCCESSORS. AN EXAMPLE FROM THE HALL OF
+AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_148">
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 148</p>
+
+<p>THE COURT OF THE LIONS FROM THE TEMPLETE POMIENTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_149">
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 149</p>
+
+<p>ENTRANCE TO THE COURT OF THE LIONS THROUGH THE POMIENTE CORNER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_150">
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 150</p>
+
+<p>NORTH GALLERY AND FAÇADE OF THE HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_151">
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 151</p>
+
+<p>THE COURT OF THE LIONS FROM THE POMIENTE CORNER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_152">
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 152</p>
+
+<p>VIEW IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_153">
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 153</p>
+
+<p>VIEW IN THE COURT OF THE LIONS FROM THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_154">
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 154</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_155">
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 155</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_156">
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 156</p>
+
+<p>COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_157">
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 157</p>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<p>NORTH GALLERY IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_158">
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 158</p>
+
+<p>SECTION, COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_159">
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 159</p>
+
+<p>PAVILION IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_160">
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 160</p>
+
+<p>FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_161">
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 161</p>
+
+<p>HALL OF JUSTICE AND COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_162">
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 162</p>
+
+<p>ANGLE IN THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_163">
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 163</p>
+
+<p>HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_164">
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 164</p>
+
+<p>CEILING OF THE HALL OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_165">
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 165</p>
+
+<p>THE MOSQUE, AND VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_166">
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 166</p>
+
+<p>EXTERIOR OF A WINDOW IN THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_167">
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 167</p>
+
+<p>THE MOSQUE, AND VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_168">
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 168</p>
+
+<p>INTERIOR OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_169">
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 169</p>
+
+<p>COURT OF THE MOSQUE, WEST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_170">
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 170</p>
+
+<p>INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_171">
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 171</p>
+
+<p>INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_172">
+<a href="images/plt_172.jpg">
+<img src="images/plt_172.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 172</p>
+
+<p>JALOUSIES IN THE COURT OF THE MOSQUE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_173">
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 173</p>
+
+<p>ENTRANCE TO THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_174">
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 174</p>
+
+<p>BALCONY IN THE HALL OF AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_175">
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 175</p>
+
+<p>DETAIL OF THE HALL OF THE ARCHED WINDOWS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_176">
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 176</p>
+
+<p>DETAIL IN THE HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_177">
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 177</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_178">
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 178</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_179">
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 179</p>
+
+<p>THE FOUNTAIN AND WEST TEMPLE OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_180">
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 180</p>
+
+<p>ELEVATION OF THE FOUNTAIN OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_181">
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 181</p>
+
+<p>THE FOUNTAIN OF THE COURT OF THE LIONS, WITH DETAILS OF THE ORNAMENT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_182">
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 182</p>
+
+<p>PLAN OF THE BASIN OF THE FOUNTAIN IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_183">
+<a href="images/plt_183.jpg">
+<img src="images/plt_183.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 183</p>
+
+<p>SECTION OF THE PAVILION IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_184">
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 184</p>
+
+<p>SECTION OF THE HALL OF THE TWO SISTERS, AND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_185">
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 185</p>
+
+<p>SECTION OF PART OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_186">
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 186</p>
+
+<p>CAPITAL IN THE COURT OF THE LIONS, WITH A SCALE OF ONE METRE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_187">
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 187</p>
+
+<p>DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_188">
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 188</p>
+
+<p>FRIEZE OVER COLUMNS, COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_189">
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 189</p>
+
+<p>DETAIL OF THE CENTRAL ARCH IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_190">
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 190</p>
+
+<p>THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN
+OF THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_191">
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 191</p>
+
+<p>ENTABLATURE IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_192">
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 192</p>
+
+<p>CUPOLA OF THE PAVILION IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_193">
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 193</p>
+<table>
+<tr valign="top"><td>
+<p>ENTRANCE TO THE COURT OF THE LIONS</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>LITTLE TEMPLE, THE COURT OF THE LIONS</p></td></tr>
+</table></div>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_194">
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 194</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_195">
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 195</p>
+<table>
+<tr valign="top"><td>
+<p>THE LITTLE TEMPLE</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>THE FOUNTAIN</p></td></tr>
+<tr><td colspan="3" class="c"><p>THE COURT OF THE LIONS</p></td></tr>
+</table></div>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_196">
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 196</p>
+
+<p>THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_197">
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 197</p>
+
+<p>THE COURT OF THE LIONS, WEST ANGLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_198">
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 198</p>
+
+<p>MOROCCO EMBASSY, DECEMBER, 1885</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_199">
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 199</p>
+
+<p>THE COURT OF THE LIONS FROM THE WEST TEMPLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_200">
+<a href="images/plt_200.jpg">
+<img src="images/plt_200.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 200</p>
+
+<p>THE COURT OF THE LIONS FROM THE WEST TEMPLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_201">
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 201</p>
+
+<p>WEST GALLERY IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_202">
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 202</p>
+
+<p>THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_203">
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 203</p>
+
+<p>THE COURT OF THE LIONS, LEFT-HAND ANGLE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_204">
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 204</p>
+
+<p>THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_205">
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 205</p>
+
+<p>THE COURT OF THE LIONS FROM THE ENTRANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_206">
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 206</p>
+
+<p>DETAIL OF THE ENTRANCE TO THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_207">
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 207</p>
+
+<p>DETAIL IN THE COURT OF THE LIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_208">
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 208</p>
+<table>
+<tr valign="top"><td>
+<p>MOSAICS, NORTH SIDE</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>MOSAICS, SOUTH SIDE</p>
+</td></tr>
+<tr><td colspan="3" class="c"><p>THE COURT OF THE LIONS</p></td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_209">
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 209</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_210">
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 210</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_211">
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 211</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_212">
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 212</p>
+
+<p>HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_213">
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 213</p>
+
+<p>WOODEN DOORS, HALL OF THE ABENCERRAGES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_214">
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 214</p>
+
+<p>GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_215">
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 215</p>
+
+<p>COURT OF THE MYRTLES; OR, OF THE FISH-POND. FAÇADE OF THE HALL OF
+AMBASSADORS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_216">
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 216</p>
+
+<p>COURT OF THE MYRTLES; OR, OF THE FISH-POND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_217">
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 217</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE MYRTLES; OR, OF THE FISH-POND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_218">
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 218</p>
+
+<p>NORTH SIDE OF THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_219">
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 219</p>
+
+<p>ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_220">
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 220</p>
+
+<p>GALLERY IN THE COURT OF THE MYRTLES; OR, OF THE FISH-POND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_221">
+<a href="images/plt_221.jpg">
+<img src="images/plt_221.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 221</p>
+
+<p>GENERAL VIEW OF THE COURT OF THE MYRTLES AND COMARES TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_222">
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 212</p>
+
+<p>COURT OF THE MYRTLES, EAST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_223">
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 223</p>
+
+<p>DETAIL IN THE COURT OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_224">
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 224</p>
+
+<p>COURT OF THE MYRTLES, EAST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_225">
+<a href="images/plt_225.jpg">
+<img src="images/plt_225.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 225</p>
+
+<p>EXTERIOR OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE
+MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_226">
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 226</p>
+
+<p>THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_227">
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 227</p>
+
+<p>ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_228">
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 228</p>
+
+<p>COURT OF THE MYRTLES; OR, OF THE FISH-POND FORMED BY YUSÚF I.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_229">
+<a href="images/plt_229.jpg">
+<img src="images/plt_229.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 229</p>
+<table>
+<tr valign="top"><td>
+<p>THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES</p>
+</td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_230">
+<a href="images/plt_230.jpg">
+<img src="images/plt_230.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 230</p>
+
+<p>THE HALL OF THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_231">
+<a href="images/plt_231.jpg">
+<img src="images/plt_231.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 231</p>
+
+<p>THE SULTAN’S BATH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_232">
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 232</p>
+
+<p>THE SULTANA’S BATH</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_233">
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 233</p>
+
+<p>THE BATHS, HALL OF REPOSE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_234">
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 234</p>
+
+<p>CHAMBER OF REPOSE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_235">
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 235</p>
+
+<p>SECTION OF THE HALL OF THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_236">
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 236</p>
+
+<p>LONGITUDINAL SECTION THROUGH THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_237">
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 237</p>
+
+<p>GROUND PLAN OF THE BATHS IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_238">
+<a href="images/plt_238.jpg">
+<img src="images/plt_238.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 238</p>
+
+<p>CEILING OF THE HALL OF THE BATHS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_239">
+<a href="images/plt_239.jpg">
+<img src="images/plt_239.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 239</p>
+
+<p>PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_240">
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 240</p>
+
+<p>A SECTION OF THE BATHS IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_241">
+<a href="images/plt_241-a.jpg">
+<img src="images/plt_241-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 241</p>
+
+<p>CHAMBER OF REPOSE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_241-b.jpg">
+<img src="images/plt_241-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>SULTAN’S BATH CONSTRUCTED BY YUSÚF I.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_242">
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 242</p>
+
+<p>INTERIOR OF THE INFANTAS’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_243">
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 243</p>
+
+<p>SECTIONS OF THE INFANTAS’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_244">
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 244</p>
+
+<p>INTERIOR OF THE TOWER OF THE INFANTAS, UPPER PART</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_245">
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 245</p>
+
+<p>BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE VEGA, OR
+PLAIN, OF GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_246">
+<a href="images/plt_246.jpg">
+<img src="images/plt_246.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 246</p>
+
+<p>ALCOVE OF THE “CAPTIVE” (ISABEL DE SOLIS)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_247">
+<a href="images/plt_247.jpg">
+<img src="images/plt_247.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 247</p>
+
+<p>INTERIOR OF THE TOWER OF THE “CAPTIVE” (ISABEL DE SOLIS)</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_248">
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 248</p>
+
+<p>THE “CAPTIVE’S” TOWER FROM THE ENTRANCE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_249">
+<a href="images/plt_249-a.jpg">
+<img src="images/plt_249-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 249</p>
+
+<p>INTERIOR OF THE MOSQUE</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_249-b.jpg">
+<img src="images/plt_249-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>ROOM IN THE “CAPTIVE’S” TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_250">
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 250</p>
+<table>
+<tr><td><p>HALL OF JUSTICE</p></td>
+<td class="spc">&nbsp; </td>
+<td><p>BATHS, THE CHAMBER OF REPOSE</p></td></tr>
+</table></div>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_251">
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 251</p>
+
+<p>BALCONY OF THE FAVOURITE, “LINDARAJA”</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_252">
+<a href="images/plt_252.jpg">
+<img src="images/plt_252.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 252</p>
+
+<p>ALCOVE IN THE “LINDARAJA” APARTMENTS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_253">
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 253</p>
+
+<p>GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID TO HAVE
+BEEN OCCUPIED BY “LINDARAJA” A FAVOURITE SULTANA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_254">
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 254</p>
+
+<p>DETAIL, INTERIOR OF THE BALCONY OF “LINDARAJA”</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_255">
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 255</p>
+
+<p>DETAIL, LOWER PART OF THE BALCONY OF “LINDARAJA<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_256">
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 256</p>
+
+<p>DETAIL OF THE CENTRAL PART OF THE BALCONY OF “LINDARAJA<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_257">
+<a href="images/plt_257.jpg">
+<img src="images/plt_257.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 257</p>
+
+<p>THE QUEEN’S BOUDOIR AND DISTANT VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_258">
+<a href="images/plt_258.jpg">
+<img src="images/plt_258.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 258</p>
+
+<p>THE QUEEN’S BOUDOIR AND VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_259">
+<a href="images/plt_259.jpg">
+<img src="images/plt_259.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 259</p>
+
+<p>THE QUEEN’S BOUDOIR AND OLD ALBAICIN QUARTER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_260">
+<a href="images/plt_260.jpg">
+<img src="images/plt_260.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 260</p>
+
+<p>THE QUEEN’S BOUDOIR AND DEFILE OF THE DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_261">
+<a href="images/plt_261.jpg">
+<img src="images/plt_261.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 261</p>
+
+<p>LINDARAJA’S GARDEN AND THE APARTMENTS IN WHICH WASHINGTON IRVING
+STAYED</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_262">
+<a href="images/plt_262.jpg">
+<img src="images/plt_262.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 262</p>
+
+<p>ANGLE OF THE BALCONY OF LINDARAJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_263">
+<a href="images/plt_263.jpg">
+<img src="images/plt_263.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 263</p>
+
+<p>BALCONY OF THE FAVOURITE LINDARAJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_264">
+<a href="images/plt_264.jpg">
+<img src="images/plt_264.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 264</p>
+
+<p>INTERIOR OF THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_265">
+<a href="images/plt_265.jpg">
+<img src="images/plt_265.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 265</p>
+
+<p>EXTERIOR OF THE CAPTIVE’S TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_266">
+<a href="images/plt_266.jpg">
+<img src="images/plt_266.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 266</p>
+
+<p>THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_267">
+<a href="images/plt_267.jpg">
+<img src="images/plt_267.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 267</p>
+
+<p>INTERIOR OF THE INFANTAS’ TOWER, UPPER PART</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_268">
+<a href="images/plt_268.jpg">
+<img src="images/plt_268.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 268</p>
+
+<p>INTERIOR OF THE INFANTAS’ TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_269">
+<a href="images/plt_269.jpg">
+<img src="images/plt_269.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 269</p>
+
+<p>DETAIL OF THE UPPER PART OF THE BALCONY OF LINDARAJA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_270">
+<a href="images/plt_270.jpg">
+<img src="images/plt_270.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 270</p>
+
+<p>HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_271">
+<a href="images/plt_271.jpg">
+<img src="images/plt_271.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 271</p>
+
+<p>ENTRANCE TO THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_272">
+<a href="images/plt_272.jpg">
+<img src="images/plt_272.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 272</p>
+
+<p>INTERIOR OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_273">
+<a href="images/plt_273.jpg">
+<img src="images/plt_273.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 273</p>
+
+<p>HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_274">
+<a href="images/plt_274.jpg">
+<img src="images/plt_274.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 274</p>
+
+<p>HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_275">
+<a href="images/plt_275.jpg">
+<img src="images/plt_275.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 275</p>
+
+<p>TEMPLE AND FAÇADE OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_276">
+<a href="images/plt_276.jpg">
+<img src="images/plt_276.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 276</p>
+
+<p>VIEW IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_277">
+<a href="images/plt_277.jpg">
+<img src="images/plt_277.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 277</p>
+
+<p>HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY YÚSUF I.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_278">
+<a href="images/plt_278.jpg">
+<img src="images/plt_278.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 278</p>
+
+<p>UPPER BALCONY OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_279">
+<a href="images/plt_279.jpg">
+<img src="images/plt_279.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 279</p>
+
+<p>HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_280">
+<a href="images/plt_280.jpg">
+<img src="images/plt_280.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 280</p>
+
+<p>CEILING OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_281">
+<a href="images/plt_281.jpg">
+<img src="images/plt_281.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 281</p>
+
+<p>DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_282">
+<a href="images/plt_282.jpg">
+<img src="images/plt_282.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 282</p>
+
+<p>DETAIL OF THE LATERAL WINDOWS OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_283">
+<a href="images/plt_283.jpg">
+<img src="images/plt_283.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 283</p>
+
+<p>DETAIL IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_284">
+<a href="images/plt_284.jpg">
+<img src="images/plt_284.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 284</p>
+
+<p>PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_285">
+<a href="images/plt_285.jpg">
+<img src="images/plt_285.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 285</p>
+
+<p>INSCRIPTION IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_378" id="page_378">{378}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_286">
+<a href="images/plt_286.jpg">
+<img src="images/plt_286.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 286</p>
+
+<p>FRIEZE IN THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_287">
+<a href="images/plt_287.jpg">
+<img src="images/plt_287.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 287</p>
+
+<p>PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_288">
+<a href="images/plt_288.jpg">
+<img src="images/plt_288.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 288</p>
+
+<p>DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_289">
+<a href="images/plt_289.jpg">
+<img src="images/plt_289.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 289</p>
+
+<p>BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_290">
+<a href="images/plt_290-a.jpg">
+<img src="images/plt_290-a.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 290</p>
+
+<p>MOSAIC IN DADO OF RECESS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_290-b.jpg">
+<img src="images/plt_290-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>MOSAIC IN DADO OF THE ENTRANCE TO<br /> THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_291">
+<a href="images/plt_291-a.jpg">
+<img src="images/plt_291-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 291</p>
+
+<p>MOSAIC IN DADO OF HALL OF AMBASSADORS</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_291-b.jpg">
+<img src="images/plt_291-b.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>MOSAIC IN DADO OF THE HALL OF THE TWO SISTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_384" id="page_384">{384}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_292">
+<a href="images/plt_292.jpg">
+<img src="images/plt_292.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 292</p>
+
+<p>WINE GATE. WEST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_293">
+<a href="images/plt_293.jpg">
+<img src="images/plt_293.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 293</p>
+
+<p>DETAIL OF THE ONLY ANCIENT “JALOUSIE” REMAINING IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_294">
+<a href="images/plt_294.jpg">
+<img src="images/plt_294.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 294</p>
+
+<p>EL JARRO. ARAB VASE NOW IN THE MUSEUM OF THE PALACE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_295">
+<a href="images/plt_295.jpg">
+<img src="images/plt_295.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 295</p>
+
+<p>EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF
+THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM
+OF THE PALACE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_388" id="page_388">{388}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_296">
+<a href="images/plt_296.jpg">
+<img src="images/plt_296.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 296</p>
+
+<p>AN ARAB VASE OF THE FOURTEENTH CENTURY IN THE NICHE WHEREIN IT STOOD
+UNTIL THE YEAR 1837</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_297">
+<a href="images/plt_297.jpg">
+<img src="images/plt_297.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 297</p>
+
+<p>SWORD OF THE LAST MOORISH KING OF GRANADA, COMMONLY CALLED “THE SWORD OF
+BOABDIL<span class="pagenum"><a name="page_390" id="page_390">{390}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_298">
+<a href="images/plt_298.jpg">
+<img src="images/plt_298.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 298</p>
+
+<p>THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY
+2, 1492</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_391" id="page_391">{391}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_299">
+<a href="images/plt_299.jpg">
+<img src="images/plt_299.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 299</p>
+
+<p>GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE
+ALHAMBRA, WHO REIGNED 1232-1272 A.D.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_300">
+<a href="images/plt_300.jpg">
+<img src="images/plt_300.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 300</p>
+
+<p>DETAILS AND INSCRIPTIONS, AND ARABIAN CAPITALS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_301">
+<a href="images/plt_301.jpg">
+<img src="images/plt_301.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 301</p>
+
+<p>THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA,
+TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_394" id="page_394">{394}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_302">
+<a href="images/plt_302-a.jpg">
+<img src="images/plt_302-a.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 302</p>
+
+<p>MOSAIC PAVEMENT IN THE QUEEN’S DRESSING<br /> ROOM (TOCADOR DE LA REYNA)</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/plt_302-b.jpg">
+<img src="images/plt_302-b.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_303">
+<a href="images/plt_303.jpg">
+<img src="images/plt_303.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 303</p>
+
+<p>THE HOUSE OF CARBON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_304">
+<a href="images/plt_304.jpg">
+<img src="images/plt_304.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 304</p>
+
+<p>THE ANCIENT GRANARY MARKET AND HOUSE OF CARBON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_305">
+<a href="images/plt_305.jpg">
+<img src="images/plt_305.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 305</p>
+
+<p>ELEVATION OF THE CASA DEL CARBON, OR HOUSE OF CARBON, ONCE KNOWN AS THE
+HOUSE OF THE WEATHERCOCK</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_306">
+<a href="images/plt_306.jpg">
+<img src="images/plt_306.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 306</p>
+
+<p>COURTYARD OF A MOORISH HOUSE IN THE ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_307">
+<a href="images/plt_307.jpg">
+<img src="images/plt_307.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 307</p>
+
+<p>INTERIOR OF AN ARAB HOUSE IN THE ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_308">
+<a href="images/plt_308.jpg">
+<img src="images/plt_308.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 308</p>
+
+<p>THE PROCLAMATION OF BOABDIL. BY PLÁCIDO FRANCES</p>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<p>(NATIONAL EXHIBITION OF BEAUX ARTS, 1884)</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_309">
+<a href="images/plt_309.jpg">
+<img src="images/plt_309.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 309</p>
+
+<p>THE AUTHOR IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_310">
+<a href="images/plt_310.jpg">
+<img src="images/plt_310.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 310</p>
+
+<p>CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA. THE SPLENDID CORNICE AT
+THE RIGHT-HAND TOP CORNER IS FROM THE LOGGIA OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_311">
+<a href="images/plt_311.jpg">
+<img src="images/plt_311.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 311</p>
+
+<p>MISCELLANEOUS ORNAMENT IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_312">
+<a href="images/plt_312.jpg">
+<img src="images/plt_312.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 312</p>
+
+<p>THE FABLE OF JUPITER AND LEDA IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_313">
+<a href="images/plt_313.jpg">
+<img src="images/plt_313.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 313</p>
+
+<p>BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_314">
+<a href="images/plt_314.jpg">
+<img src="images/plt_314.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 314</p>
+
+<p>ARABIAN SWORD</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_315">
+<a href="images/plt_315.jpg">
+<img src="images/plt_315.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 315</p>
+
+<p>CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_408" id="page_408">{408}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_316">
+<a href="images/plt_316.jpg">
+<img src="images/plt_316.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 316</p>
+
+<p>ENCAUSTIC-TILE WORK IN THE ROYAL ROOM OF SANTO DOMINGO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_317">
+<a href="images/plt_317.jpg">
+<img src="images/plt_317.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 317</p>
+
+<p>VARIOUS MOSAICS FROM THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_318">
+<a href="images/plt_318.jpg">
+<img src="images/plt_318.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 318</p>
+
+<p>INSCRIPTIONS IN THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_319">
+<a href="images/plt_319.jpg">
+<img src="images/plt_319.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 319</p>
+
+<p>PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE
+ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_412" id="page_412">{412}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_320">
+<a href="images/plt_320.jpg">
+<img src="images/plt_320.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 320</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_321">
+<a href="images/plt_321.jpg">
+<img src="images/plt_321.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 321</p>
+
+<p>ANCIENT CISTERN. EARLY FOURTEENTH CENTURY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_322">
+<a href="images/plt_322.jpg">
+<img src="images/plt_322.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 322</p>
+
+<p>THE ALHAMBRA</p>
+
+<p><i>Specially drawn for The Spanish Series</i></p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_323">
+<a href="images/plt_323.jpg">
+<img src="images/plt_323.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 323</p>
+
+<p>PART OF EXTERIOR OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_416" id="page_416">{416}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_324">
+<a href="images/plt_324.jpg">
+<img src="images/plt_324.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 324</p>
+
+<p>ELEVATION OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_417" id="page_417">{417}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_325">
+<a href="images/plt_325.jpg">
+<img src="images/plt_325.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 325</p>
+
+<p>SECTION OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_326">
+<a href="images/plt_326.jpg">
+<img src="images/plt_326.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 326</p>
+
+<p>FOUNTAIN OF THE EMPEROR CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_419" id="page_419">{419}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_327">
+<a href="images/plt_327.jpg">
+<img src="images/plt_327.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 327</p>
+
+<p>VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_328">
+<a href="images/plt_328.jpg">
+<img src="images/plt_328.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 328</p>
+
+<p>INTERIOR OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_329">
+<a href="images/plt_329.jpg">
+<img src="images/plt_329.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 329</p>
+
+<p>DOORWAY OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_422" id="page_422">{422}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_330">
+<a href="images/plt_330.jpg">
+<img src="images/plt_330.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 330</p>
+
+<p>BAS-RELIEF IN THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_331">
+<a href="images/plt_331.jpg">
+<img src="images/plt_331.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 331</p>
+
+<p>PORCH OF THE PALACE OF CHARLES V. FROM THE WEST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_332">
+<a href="images/plt_332.jpg">
+<img src="images/plt_332.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 332</p>
+
+<p>ROMAN COURT, PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_333">
+<a href="images/plt_333.jpg">
+<img src="images/plt_333.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 333</p>
+
+<p>GROUND PLAN OF THE GENERALIFE AT GRANADA</p>
+
+<p style="text-align:left;">
+A. Advanced parts<br />
+B. The Inner Gallery, commanding a view of the Gardens<br />
+C, C, C, C. Terraces and Aqueducts<br />
+D, D, D, E, E. The surrounding country<br />
+</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_426" id="page_426">{426}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_334">
+<a href="images/plt_334.jpg">
+<img src="images/plt_334.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 334</p>
+
+<p>THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_335">
+<a href="images/plt_335.jpg">
+<img src="images/plt_335.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 335</p>
+
+<p>THE PRINCIPAL COURT OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_336">
+<a href="images/plt_336.jpg">
+<img src="images/plt_336.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 336</p>
+
+<p>THE COURT OF THE FISH POND IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_337">
+<a href="images/plt_337.jpg">
+<img src="images/plt_337.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 337</p>
+
+<p>PROMENADES AND GARDENS OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_338">
+<a href="images/plt_338.jpg">
+<img src="images/plt_338.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 338</p>
+
+<p>THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_339">
+<a href="images/plt_339.jpg">
+<img src="images/plt_339.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 339</p>
+
+<p>FRONT VIEW OF THE PORTICO OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_432" id="page_432">{432}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_340">
+<a href="images/plt_340.jpg">
+<img src="images/plt_340.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 340</p>
+
+<p>TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_341">
+<a href="images/plt_341.jpg">
+<img src="images/plt_341.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 341</p>
+
+<p>GALLERY IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_342">
+<a href="images/plt_342.jpg">
+<img src="images/plt_342.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 342</p>
+
+<p>THE GENERALIFE</p>
+
+<p>GALLERY IN THE ACEQUIA COURT</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_343">
+<a href="images/plt_343.jpg">
+<img src="images/plt_343.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 343</p>
+
+<p>THE GENERALIFE</p>
+
+<p>ENTRANCE TO THE PORTRAIT GALLERY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_344">
+<a href="images/plt_344.jpg">
+<img src="images/plt_344.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 344</p>
+
+<p>GARDEN OF THE GENERALIFE</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_345">
+<a href="images/plt_345.jpg">
+<img src="images/plt_345.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 345</p>
+
+<p>ELEVATION OF THE PORTICO OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_346">
+<a href="images/plt_346.jpg">
+<img src="images/plt_346.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 346</p>
+
+<p>THE ACEQUIA COURT IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_347">
+<a href="images/plt_347.jpg">
+<img src="images/plt_347.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 347</p>
+
+<p>A CORNER OF THE ACEQUIA COURT IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_440" id="page_440">{440}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_348">
+<a href="images/plt_348.jpg">
+<img src="images/plt_348.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 348</p>
+<table>
+<tr valign="top"><td>
+<p>CYPRESS COURT</p>
+</td><td class="spc">&nbsp; </td><td>
+<p>A CORNER IN THE ACEQUIA COURT</p>
+</td></tr>
+</table>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_349">
+<a href="images/plt_349.jpg">
+<img src="images/plt_349.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 349</p>
+
+<p>THE CYPRESS OF THE SULTANA IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_350">
+<a href="images/plt_350.jpg">
+<img src="images/plt_350.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 350</p>
+
+<p>A CEILING IN THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_443" id="page_443">{443}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_351">
+<a href="images/plt_351.jpg">
+<img src="images/plt_351.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 351</p>
+
+<p>THE GENERALIFE. THE ACEQUIA COURT FROM THE MAIN ENTRANCE</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a name="page_444" id="page_444">{444}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_352">
+<a href="images/plt_352.jpg">
+<img src="images/plt_352.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 352</p>
+
+<p>THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_445" id="page_445">{445}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_353">
+<a href="images/plt_353.jpg">
+<img src="images/plt_353.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 353</p>
+
+<p>EXTERIOR VIEW OF THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_446" id="page_446">{446}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_354">
+<a href="images/plt_354.jpg">
+<img src="images/plt_354.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 354</p>
+
+<p>ENTRANCE TO THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_447" id="page_447">{447}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_355">
+<a href="images/plt_355.jpg">
+<img src="images/plt_355.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 355</p>
+
+<p>THE GENERALIFE. COURT OF THE SULTANA’S CYPRESS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_448" id="page_448">{448}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_356">
+<a href="images/plt_356.jpg">
+<img src="images/plt_356.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 356</p>
+
+<p>THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_357">
+<a href="images/plt_357.jpg">
+<img src="images/plt_357.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 357</p>
+
+<p>SOUTH FAÇADE OF THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_450" id="page_450">{450}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_358">
+<a href="images/plt_358.jpg">
+<img src="images/plt_358.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 358</p>
+
+<p>BAS-RELIEF IN THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_359">
+<a href="images/plt_359.jpg">
+<img src="images/plt_359.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 359</p>
+
+<p>BAS-RELIEF IN THE PALACE OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_452" id="page_452">{452}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_360">
+<a href="images/plt_360.jpg">
+<img src="images/plt_360.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 360</p>
+
+<p>GATE OF THE GRANADAS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_453" id="page_453">{453}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_361">
+<a href="images/plt_361.jpg">
+<img src="images/plt_361.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 361</p>
+
+<p>PROMENADES AND HOTELS OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_454" id="page_454">{454}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_362">
+<a href="images/plt_362.jpg">
+<img src="images/plt_362.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 362</p>
+
+<p>THE GATE OF JUSTICE AND FOUNTAIN OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_455" id="page_455">{455}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_363">
+<a href="images/plt_363.jpg">
+<img src="images/plt_363.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 363</p>
+
+<p>ENVIRONS OF THE ALHAMBRA. FOUNTAIN OF CHARLES V.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_364">
+<a href="images/plt_364.jpg">
+<img src="images/plt_364.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 364</p>
+
+<p>GATE OF JUSTICE. PRINCIPAL ENTRANCE TO THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_365">
+<a href="images/plt_365.jpg">
+<img src="images/plt_365.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 365</p>
+
+<p>GATE OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_366">
+<a href="images/plt_366.jpg">
+<img src="images/plt_366.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 366</p>
+
+<p>GATE OF THE VINE. EAST FAÇADE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_459" id="page_459">{459}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_367">
+<a href="images/plt_367.jpg">
+<img src="images/plt_367.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 367</p>
+
+<p>ENVIRONS OF THE ALHAMBRA. TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_368">
+<a href="images/plt_368.jpg">
+<img src="images/plt_368.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 368</p>
+
+<p>TOWER OF THE PEAKS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_461" id="page_461">{461}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_369">
+<a href="images/plt_369.jpg">
+<img src="images/plt_369.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 369</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE SILLA DEL MORO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_462" id="page_462">{462}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_370">
+<a href="images/plt_370.jpg">
+<img src="images/plt_370.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 370</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE GIPSY QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_371">
+<a href="images/plt_371.jpg">
+<img src="images/plt_371.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 371</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM THE GENERALIFE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_372">
+<a href="images/plt_372.jpg">
+<img src="images/plt_372.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 372</p>
+
+<p>VIEW OF GRANADA AND THE ALHAMBRA FROM THE SACROMONTE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_373">
+<a href="images/plt_373.jpg">
+<img src="images/plt_373.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 373</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA FROM ST. NICHOLAS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_466" id="page_466">{466}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_374">
+<a href="images/plt_374.jpg">
+<img src="images/plt_374.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 374</p>
+
+<p>THE WATCH TOWER, THE CATHEDRAL, AND GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_467" id="page_467">{467}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_375">
+<a href="images/plt_375.jpg">
+<img src="images/plt_375.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 375</p>
+
+<p>VILLAS ON THE BANKS OF THE RIVER DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_468" id="page_468">{468}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_376">
+<a href="images/plt_376.jpg">
+<img src="images/plt_376.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 376</p>
+
+<p>A VIEW OF THE ALHAMBRA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_377">
+<a href="images/plt_377.jpg">
+<img src="images/plt_377.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 377</p>
+
+<p>VILLAS ON THE BANKS OF THE RIVER DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_378">
+<a href="images/plt_378.jpg">
+<img src="images/plt_378.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 378</p>
+
+<p>THE WATCH TOWER AND CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_379">
+<a href="images/plt_379.jpg">
+<img src="images/plt_379.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 379</p>
+
+<p>THE RED TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_472" id="page_472">{472}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_380">
+<a href="images/plt_380.jpg">
+<img src="images/plt_380.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 380</p>
+
+<p>THE HOMAGE TOWER AND GIPSY QUARTERS. EXTERIOR OF THEIR CAVES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_473" id="page_473">{473}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_381">
+<a href="images/plt_381.jpg">
+<img src="images/plt_381.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 381</p>
+
+<p>CARRERA DEL RIO DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_474" id="page_474">{474}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_382">
+<a href="images/plt_382.jpg">
+<img src="images/plt_382.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 382</p>
+
+<p>THE GATE OF ELVIRA. THE OLD ENTRANCE TO THE FORTIFICATIONS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_475" id="page_475">{475}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_383">
+<a href="images/plt_383.jpg">
+<img src="images/plt_383.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 383</p>
+
+<p>WASHING PLACE IN THE PUERTA DEL SOL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_384">
+<a href="images/plt_384.jpg">
+<img src="images/plt_384.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 384</p>
+
+<p>COURTYARD OF AN ARAB HOUSE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_385">
+<a href="images/plt_385.jpg">
+<img src="images/plt_385.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 385</p>
+
+<p>A MOORISH ARCHWAY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_478" id="page_478">{478}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_386">
+<a href="images/plt_386.jpg">
+<img src="images/plt_386.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 386</p>
+
+<p>INTERIOR OF AN OLD HOUSE IN THE CALLE DEL HORNO DE ORO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_479" id="page_479">{479}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_387">
+<a href="images/plt_387.jpg">
+<img src="images/plt_387.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 387</p>
+
+<p>INTERIOR OF AN OLD HOUSE IN THE ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_388">
+<a href="images/plt_388.jpg">
+<img src="images/plt_388.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 388</p>
+
+<p>THE CATHEDRAL AND GENERAL VIEW</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_389">
+<a href="images/plt_389.jpg">
+<img src="images/plt_389.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 389</p>
+
+<p>GENERAL VIEW OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_482" id="page_482">{482}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_390">
+<a href="images/plt_390.jpg">
+<img src="images/plt_390.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 390</p>
+
+<p>GENERAL VIEW OF THE EXTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_483" id="page_483">{483}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_391">
+<a href="images/plt_391.jpg">
+<img src="images/plt_391.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 391</p>
+
+<p>ENTRANCE TO THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_484" id="page_484">{484}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_392">
+<a href="images/plt_392.jpg">
+<img src="images/plt_392.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 392</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_485" id="page_485">{485}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_393">
+<a href="images/plt_393.jpg">
+<img src="images/plt_393.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 393</p>
+
+<p>DETAIL OF THE EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_394">
+<a href="images/plt_394.jpg">
+<img src="images/plt_394.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 394</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_395">
+<a href="images/plt_395.jpg">
+<img src="images/plt_395.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 395</p>
+
+<p>EXTERIOR OF THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_396">
+<a href="images/plt_396.jpg">
+<img src="images/plt_396.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 396</p>
+
+<p>EXTERIOR OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_489" id="page_489">{489}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_397">
+<a href="images/plt_397.jpg">
+<img src="images/plt_397.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 397</p>
+
+<p>EXTERIOR OF THE CATHEDRAL. THE GATE OF PARDON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_490" id="page_490">{490}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_398">
+<a href="images/plt_398.jpg">
+<img src="images/plt_398.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 398</p>
+
+<p>GOTHIC PINNACLE ON THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_491" id="page_491">{491}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_399">
+<a href="images/plt_399.jpg">
+<img src="images/plt_399.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 399</p>
+
+<p>THE CATHEDRAL, VIEW FROM THE CHOIR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_400">
+<a href="images/plt_400.jpg">
+<img src="images/plt_400.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 400</p>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE CHANCEL AND HIGH ALTAR</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_401">
+<a href="images/plt_401.jpg">
+<img src="images/plt_401.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 401</p>
+
+<p>BAS RELIEF IN THE ALTAR-PIECE OF THE ROYAL CHAPEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_402">
+<a href="images/plt_402.jpg">
+<img src="images/plt_402.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 402</p>
+
+<p>GENERAL VIEW OF THE CHANCEL IN THE CATHEDRAL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_495" id="page_495">{495}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_403">
+<a href="images/plt_403.jpg">
+<img src="images/plt_403.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 403</p>
+
+<p>THE ROYAL CHAPEL. SEPULCHRE OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_496" id="page_496">{496}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_404">
+<a href="images/plt_404.jpg">
+<img src="images/plt_404.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 404</p>
+
+<p>ROYAL CHAPEL. DETAIL OF THE SEPULCHRE OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_405">
+<a href="images/plt_405.jpg">
+<img src="images/plt_405.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 405</p>
+
+<p>THE ROYAL CHAPEL. SCULPTURE OF KING FERDINAND THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_498" id="page_498">{498}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_406">
+<a href="images/plt_406.jpg">
+<img src="images/plt_406.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 406</p>
+
+<p>SEPULCHRE OF FERDINAND</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_499" id="page_499">{499}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_407">
+<a href="images/plt_407.jpg">
+<img src="images/plt_407.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 407</p>
+
+<p>SEPULCHRE OF ISABELLA THE CATHOLIC</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_500" id="page_500">{500}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_408">
+<a href="images/plt_408.jpg">
+<img src="images/plt_408.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 408</p>
+
+<p>PORTAL OF THE CHURCH OF SAN JUAN DE DIO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_409">
+<a href="images/plt_409.jpg">
+<img src="images/plt_409.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 409</p>
+
+<p>SEPULCHRE OF ALONSO CANO IN SAN GERONIMO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_502" id="page_502">{502}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_410">
+<a href="images/plt_410.jpg">
+<img src="images/plt_410.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 410</p>
+
+<p>HEAD OF JOHN THE BAPTIST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_503" id="page_503">{503}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_411">
+<a href="images/plt_411.jpg">
+<img src="images/plt_411.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 411</p>
+
+<p>HEAD OF JOHN THE BAPTIST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_504" id="page_504">{504}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_412">
+<a href="images/plt_412.jpg">
+<img src="images/plt_412.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 412</p>
+
+<p>HEAD OF JOHN THE BAPTIST</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_505" id="page_505">{505}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_413">
+<a href="images/plt_413.jpg">
+<img src="images/plt_413.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 413</p>
+
+<p>EXTERIOR OF THE CARTUJA MONASTERY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_506" id="page_506">{506}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_414">
+<a href="images/plt_414.jpg">
+<img src="images/plt_414.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 414</p>
+
+<p>SACRISTY IN THE CARTUJA, LEFT SIDE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_507" id="page_507">{507}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_415">
+<a href="images/plt_415.jpg">
+<img src="images/plt_415.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 415</p>
+
+<p>SACRISTY IN THE CARTUJA, RIGHT SIDE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_508" id="page_508">{508}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_416">
+<a href="images/plt_416.jpg">
+<img src="images/plt_416.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 416</p>
+
+<p>CARTUJA. SANTO SANTORUM</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_509" id="page_509">{509}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_417">
+<a href="images/plt_417.jpg">
+<img src="images/plt_417.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 417</p>
+
+<p>CARTUJA. DETAIL OF THE CUPBOARDS IN THE SACRISTY</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_510" id="page_510">{510}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_418">
+<a href="images/plt_418.jpg">
+<img src="images/plt_418.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 418</p>
+
+<p>ALTARS IN THE CARTUJA. PICTURES BY SANCHEZ Y COTÁN, A MONK OF THE
+ORDER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_511" id="page_511">{511}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_419">
+<a href="images/plt_419.jpg">
+<img src="images/plt_419.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 419</p>
+
+<p>CARTUJA. THE IMMACULATE CONCEPTION. BY MURILLO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_512" id="page_512">{512}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_420">
+<a href="images/plt_420.jpg">
+<img src="images/plt_420.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 420</p>
+
+<p><span class="pagenum"><a name="page_513" id="page_513">{513}</a></span></p>
+
+<p>CARTUJA. THE VIRGIN OF THE ROSARY. BY MURILLO</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_421">
+<a href="images/plt_421.jpg">
+<img src="images/plt_421.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 421</p>
+
+<p>CARTUJA. ST. JOSEPH AND THE CHILD, SCULPTURE BY ALONSO CAÑO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_514" id="page_514">{514}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_422">
+<a href="images/plt_422.jpg">
+<img src="images/plt_422.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 422</p>
+
+<p>CARTUJA. ST. MARY MAGDALENE, SCULPTURE BY ALONSO CAÑO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_515" id="page_515">{515}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_423">
+<a href="images/plt_423.jpg">
+<img src="images/plt_423.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 423</p>
+
+<p>CARTUJA. HORSEMEN HANGING MARTYRS. BY SANCHEZ COTÁN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_516" id="page_516">{516}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_424">
+<a href="images/plt_424.jpg">
+<img src="images/plt_424.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 424</p>
+
+<p>CARTUJA. THE BAPTISM OF OUR LORD. BY SANCHEZ COTÁN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_517" id="page_517">{517}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_425">
+<a href="images/plt_425.jpg">
+<img src="images/plt_425.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 425</p>
+
+<p>CARTUJA. THE HOLY FAMILY. BY SANCHEZ COTÁN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_518" id="page_518">{518}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_426">
+<a href="images/plt_426.jpg">
+<img src="images/plt_426.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 426</p>
+
+<p>THE CRUCIFIXION OF OUR LORD. BY MORALES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_519" id="page_519">{519}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_427">
+<a href="images/plt_427.jpg">
+<img src="images/plt_427.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 427</p>
+
+<p>THE CONCEPTION OF OUR LADY. BY MORALES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_520" id="page_520">{520}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_428">
+<a href="images/plt_428.jpg">
+<img src="images/plt_428.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 428</p>
+
+<p>THE GIPSY QUARTERS. EXTERIOR OF THE CAVES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_521" id="page_521">{521}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_429">
+<a href="images/plt_429.jpg">
+<img src="images/plt_429.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 429</p>
+
+<p>THE GIPSY QUARTERS. AN “AT HOME<span class="pagenum"><a name="page_522" id="page_522">{522}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_430">
+<a href="images/plt_430.jpg">
+<img src="images/plt_430.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 430</p>
+
+<p>GIPSY DANCE IN THEIR QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_523" id="page_523">{523}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_431">
+<a href="images/plt_431.jpg">
+<img src="images/plt_431.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 431</p>
+
+<p>GIPSY TYPES AT THE DOORS OF THEIR CAVES</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_524" id="page_524">{524}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_432">
+<a href="images/plt_432.jpg">
+<img src="images/plt_432.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 432</p>
+
+<p>GIPSY DANCE IN THEIR QUARTERS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_525" id="page_525">{525}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_433">
+<a href="images/plt_433.jpg">
+<img src="images/plt_433.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 433</p>
+
+<p>GIPSY DANCERS AND THEIR CAPTAIN, J. AMAYA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_526" id="page_526">{526}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_434">
+<a href="images/plt_434.jpg">
+<img src="images/plt_434.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 434</p>
+
+<p>BRIDGE OF THE GENIL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_527" id="page_527">{527}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_435">
+<a href="images/plt_435.jpg">
+<img src="images/plt_435.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 435</p>
+
+<p>GENERAL VIEW</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_528" id="page_528">{528}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_436">
+<a href="images/plt_436.jpg">
+<img src="images/plt_436.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 436</p>
+
+<p>GENERAL VIEW OF THE OLD ALBAICIN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_529" id="page_529">{529}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_437">
+<a href="images/plt_437.jpg">
+<img src="images/plt_437.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 437</p>
+
+<p>GENERAL VIEW FROM THE WATCH TOWER</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_530" id="page_530">{530}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_438">
+<a href="images/plt_438.jpg">
+<img src="images/plt_438.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 438</p>
+
+<p>OLD ARAB PALACE. NOW THE PROPERTY OF A SPANISH NOBLEMAN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_531" id="page_531">{531}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_439">
+<a href="images/plt_439.jpg">
+<img src="images/plt_439.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 439</p>
+
+<p>THE OLD TOWN HALL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_532" id="page_532">{532}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_440">
+<a href="images/plt_440.jpg">
+<img src="images/plt_440.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 440</p>
+
+<p>THE ROYAL GATE AND STREET OF THE CATHOLIC SOVEREIGNS</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_533" id="page_533">{533}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_441">
+<a href="images/plt_441.jpg">
+<img src="images/plt_441.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 441</p>
+
+<p>MONUMENT TO COLUMBUS IN THE PASEO DEL SALÓN</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_534" id="page_534">{534}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_442">
+<a href="images/plt_442.jpg">
+<img src="images/plt_442.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 442</p>
+
+<p>THE RAW SILK MARKET</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_535" id="page_535">{535}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_443">
+<a href="images/plt_443.jpg">
+<img src="images/plt_443.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 443</p>
+
+<p>THE RAW SILK MARKET. ANCIENT ARAB SILK MARKET</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_536" id="page_536">{536}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_444">
+<a href="images/plt_444.jpg">
+<img src="images/plt_444.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 444</p>
+
+<p>EXTERIOR OF AN OLD HOUSE, CUESTA DEL PESCADO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_537" id="page_537">{537}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_445">
+<a href="images/plt_445.jpg">
+<img src="images/plt_445.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 445</p>
+
+<p>THE COURT OF JUSTICE</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_538" id="page_538">{538}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_446">
+<a href="images/plt_446.jpg">
+<img src="images/plt_446.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 446</p>
+
+<p>CARRERA DEL DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_539" id="page_539">{539}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_447">
+<a href="images/plt_447.jpg">
+<img src="images/plt_447.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 447</p>
+
+<p>MARKET AND GIPSY FAIR IN THE TRIUNFO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_540" id="page_540">{540}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_448">
+<a href="images/plt_448.jpg">
+<img src="images/plt_448.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 448</p>
+
+<p>CALLE DE SAN ANTON</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_541" id="page_541">{541}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_449">
+<a href="images/plt_449.jpg">
+<img src="images/plt_449.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 449</p>
+
+<p>ANTEQUERUELA QUARTER, SIERRA NEVADA, AND THE “LAST SIGH OF THE MOOR<span class="pagenum"><a name="page_542" id="page_542">{542}</a></span>”</p></div>
+</div>
+
+<div class="figcenter" style="width: 600px;" id="plt_450">
+<a href="images/plt_450.jpg">
+<img src="images/plt_450.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 450</p>
+
+<p>CARRERA DE GENIL AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_543" id="page_543">{543}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_451">
+<a href="images/plt_451.jpg">
+<img src="images/plt_451.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 451</p>
+
+<p>PLAZA DE MARIANA PINEDA, ARAB HOUSE, AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_544" id="page_544">{544}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_452">
+<a href="images/plt_452.jpg">
+<img src="images/plt_452.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 452</p>
+
+<p>GENERAL VIEW OF THE ALHAMBRA AND OF THE SIERRA NEVADA FROM ST. MICHAEL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_545" id="page_545">{545}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_453">
+<a href="images/plt_453.jpg">
+<img src="images/plt_453.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 453</p>
+
+<p>HUÉTOR HIGH ROAD AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_546" id="page_546">{546}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_454">
+<a href="images/plt_454.jpg">
+<img src="images/plt_454.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 454</p>
+
+<p>VILLAS ON THE BORDERS OF THE RIVER DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_547" id="page_547">{547}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_455">
+<a href="images/plt_455.jpg">
+<img src="images/plt_455.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 455</p>
+
+<p>DEFILE OF THE DARRO</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_548" id="page_548">{548}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_456">
+<a href="images/plt_456.jpg">
+<img src="images/plt_456.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 456</p>
+
+<p>THE GREEN BRIDGE AND VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_549" id="page_549">{549}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_457">
+<a href="images/plt_457.jpg">
+<img src="images/plt_457.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 457</p>
+
+<p>VIEW OF THE SIERRA NEVADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_550" id="page_550">{550}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_458">
+<a href="images/plt_458.jpg">
+<img src="images/plt_458.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 458</p>
+
+<p>GENERAL VIEW OF THE SIERRA NEVADA AND THE RIVER GENIL</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_551" id="page_551">{551}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_459">
+<a href="images/plt_459.jpg">
+<img src="images/plt_459.jpg" width="600" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 459</p>
+
+<p>GRANADA</p>
+
+<p><i>Specially drawn for The Spanish Series</i></p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_552" id="page_552">{552}</a></span></p>
+
+<div class="figcenter" style="width: 600px;" id="plt_460">
+<a href="images/plt_460.jpg">
+<img src="images/plt_460.jpg" height="550" alt="[Image unavailable.]" /></a>
+<div class="caption"><p><span class="smcap">Plate</span> 460</p>
+
+<p>ARMS OF GRANADA</p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_553" id="page_553">{553}</a></span></p>
+
+<hr />
+
+<p class="chuge">THE<br />
+SPANISH SERIES</p>
+
+<p class="c">Edited by ALBERT F. CALVERT</p>
+
+<p class="nind"><span class="letra">A</span> new and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.</p>
+
+<p class="c">Crown 8vo Price 3/6 net</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td class="rt">1</td><td>Goya</td><td class="c">with</td><td class="c">600</td><td class="c">illustrations</td></tr>
+<tr><td class="rt">2</td><td>Toledo</td><td class="c">”</td><td class="c">510</td><td class="c">”</td></tr>
+<tr><td class="rt">3</td><td>Madrid</td><td class="c">”</td><td class="c">450</td><td class="c">”</td></tr>
+<tr><td class="rt">4</td><td>Seville</td><td class="c">”</td><td class="c">300</td><td class="c">”</td></tr>
+<tr><td class="rt">5</td><td>Murillo</td><td class="c">”</td><td class="c">165</td><td class="c">”</td></tr>
+<tr><td class="rt">6</td><td>Cordova</td><td class="c">”</td><td class="c">160</td><td class="c">”</td></tr>
+<tr><td class="rt">7</td><td>El Greco</td><td class="c">”</td><td class="c">140</td><td class="c">”</td></tr>
+<tr><td class="rt">8</td><td>Velazquez</td><td class="c">”</td><td class="c">142</td><td class="c">”</td></tr>
+<tr><td class="rt">9</td><td>The Prado</td><td class="c">”</td><td class="c">223</td><td class="c">”</td></tr>
+<tr><td class="rt">10</td><td>The Escorial</td><td class="c">”</td><td class="c">278</td><td class="c">”</td></tr>
+<tr><td class="rt">11</td><td>Royal Palaces of Spain</td><td class="c">”</td><td class="c">200</td><td class="c">”</td></tr>
+<tr><td class="rt">12</td><td>Granada and Alhambra</td><td class="c">”</td><td class="c">460</td><td class="c">”</td></tr>
+<tr><td class="rt">13</td><td>Spanish Arms and Armour</td><td class="c">”</td><td class="c">386</td><td class="c">”</td></tr>
+<tr><td class="rt">14</td><td>Leon, Burgos and Salamanca</td><td class="c">”</td><td class="c">462</td><td class="c">”</td></tr>
+<tr><td class="rt">15</td><td>Valladolid, Oviedo, Segovia, Zamora, Avila and Zaragoza</td><td class="c">”</td><td class="c">390</td><td class="c">”</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_554" id="page_554">{554}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">MURILLO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p class="nind"><span class="letra">W</span>HILE the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.</p>
+
+<p>In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">SPANISH ARMS AND ARMOUR</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN</p>
+
+<p class="nind"><span class="letra">A</span>LTHOUGH several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.</p>
+
+<p>The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.<span class="pagenum"><a name="page_555" id="page_555">{555}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">THE ESCORIAL</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS</p>
+
+<p class="nind"><span class="letra">T</span>HE Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.</p>
+
+<p>In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">TOLEDO</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">T</span>HE origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”</p>
+
+<p>But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.</p>
+
+<p>In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.<span class="pagenum"><a name="page_556" id="page_556">{556}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">SEVILLE</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">S</span>EVILLE, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.</p>
+
+<p>Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.</p>
+
+<p>The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">THE PRADO</p>
+
+<p>A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG</p>
+
+<p class="nind"><span class="letra">T</span>HIS volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.</p>
+
+<p>The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.</p>
+
+<p>The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.<span class="pagenum"><a name="page_557" id="page_557">{557}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">GRANADA AND THE ALHAMBRA</p>
+
+<p>A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE</p>
+
+<p class="nind"><span class="letra">T</span>HIS volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.</p>
+
+<p>In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so&mdash;it is my hope&mdash;the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">EL GRECO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES</p>
+
+<p class="nind"><span class="letra">I</span>N a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.</p>
+
+<p>El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures&mdash;a greater number than has ever before been
+published of El Greco’s works.<span class="pagenum"><a name="page_558" id="page_558">{558}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">VELAZQUEZ</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p class="nind"><span class="letra">D</span>IEGO RODRIGUEZ DE SILVA Y VELAZQUEZ&mdash;“our Velazquez,” as Palomino
+proudly styles him&mdash;has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.</p>
+
+<p>The great Velazquez, the eagle in art&mdash;subtle, simple, incomparable&mdash;the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.</p>
+
+<p>The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">ROYAL PALACES OF SPAIN</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED</p>
+
+<p class="nind"><span class="letra">S</span>PAIN is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.</p>
+
+<p>The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.<span class="pagenum"><a name="page_559" id="page_559">{559}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">T</span>HE glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.</p>
+
+<p>More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.</p>
+
+<p>In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">LEON, BURGOS AND SALAMANCA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">I</span>N Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.</p>
+
+<p>Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital; and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.</p>
+
+<p>Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.<span class="pagenum"><a name="page_560" id="page_560">{560}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">MADRID</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">M</span>ADRID is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.</p>
+
+<p>The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.</p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">GOYA</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES</p>
+
+<p class="nind"><span class="letra">T</span>HE last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”</p>
+
+<p>The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.</p>
+
+<p>It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.<span class="pagenum"><a name="page_561" id="page_561">{561}</a></span></p>
+
+<hr />
+
+<p class="cund"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="chuge">CORDOVA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS</p>
+
+<p class="nind"><span class="letra">G</span>AY-LOOKING, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.</p>
+
+<p>Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.</p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="chuge">LIFE OF CERVANTES</p>
+
+<p>A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”</p>
+
+<p class="c">
+Size Crown 8vo.         150 pp.         Price 3/6 net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“A popular and accessible account of the career of Cervantes.”&mdash;<i>Daily
+Chronicle.</i></p>
+
+<p>“A very readable and pleasant account of one of the great writers of all
+time.”&mdash;<i>Morning Leader.</i></p>
+
+<p>“<span class="smcap">Mr. Calvert</span> is entitled to the gratitude of book-lovers for his
+industrious devotion at one of our greatest literary
+shrines.”&mdash;<i>Birmingham Post.</i></p>
+
+<p>“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”&mdash;<i>Black and White.</i></p>
+
+<p>“We recommend the book to all those to whom Cervantes is more than a
+mere name.”&mdash;<i>Westminster Gazette.</i></p>
+
+<p>“A most interesting résumé of all facts up to the present time
+known.”&mdash;<i>El Nervion de Bilbao, Spain.</i></p>
+
+<p>“The most notable work dedicated to the immortal author of Don Quixote
+that has been published in England.”&mdash;<i>El Graduador, Spain.</i></p>
+
+<p>“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.<span class="pagenum"><a name="page_562" id="page_562">{562}</a></span>”&mdash;<i>El Defensor de
+Granada, Spain.</i></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="chuge">THE ALHAMBRA</p>
+
+<p>OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Size 10 x 7-1/2.       Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”&mdash;<i>Building World.</i></p>
+
+<p>“One is really puzzled where to begin and when to stop in praising the
+illustrations.”&mdash;<i>Bookseller.</i></p>
+
+<p>“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”&mdash;<i>British Architect.</i></p>
+
+<p>“A treasure to the student of decorative art.”&mdash;<i>Morning Advertiser.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given us a Book Beautiful.”&mdash;<i>Western Daily Press.</i></p>
+
+<p>“It is the last word on the subject, no praise is too
+high.”&mdash;<i>Nottingham Express.</i></p>
+
+<p>“May be counted among the more important art books which have been
+published during recent years.”&mdash;<i>The Globe.</i></p>
+
+<p>“Has a pride of place that is all its own among the books of the
+month.”&mdash;<i>Review of Reviews.</i></p>
+
+<p>“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”&mdash;<i>El Graduador,
+Spain.</i></p>
+
+<p>“It is one of the most beautiful books of modern times.”&mdash;<i>Ely Gazette.</i></p>
+
+<p>“One of the most artistic productions of the year.”&mdash;<i>Publishers’
+Circular.</i></p>
+
+<p>“The most beautiful book on the Alhambra issued in England.”&mdash;<i>Sphere.</i></p>
+
+<p>“The standard work on a splendid subject.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A remarkable masterpiece of book production.”&mdash;<i>Eastern Daily Press.</i></p>
+
+<p>“A perfect treasure of beauty and delight.”&mdash;<i>Keighley News.</i></p>
+
+<p>“A magnificent work.”&mdash;<i>Melbourne Age, Australia.</i></p>
+
+<p>“Immense collection of fine plates.”&mdash;<i>The Times.</i></p>
+
+<p>“A standard work, the compilation of which would credit a life’s
+labour.<span class="pagenum"><a name="page_563" id="page_563">{563}</a></span>”&mdash;<i>Hull Daily Mail.</i></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="chuge">MOORISH REMAINS IN SPAIN</p>
+
+<p>BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Crown 4to. (7-1/2 x 10 ins.)     Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”&mdash;<i>Pall Mall
+Gazette.</i></p>
+
+<p>“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”&mdash;<i>The Scotsman.</i></p>
+
+<p>“A most gorgeous book.... We cheerfully admit Mr. <span class="smcap">Calvert</span> into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”&mdash;<i>Outlook.</i></p>
+
+<p>“A large and sumptuous volume.”&mdash;<i>Tribune.</i></p>
+
+<p>“The illustrations are simply marvels of reproduction.”&mdash;<i>Dundee
+Advertiser.</i></p>
+
+<p>“One of the books to which a simple literary review cannot pretend to do
+justice.”&mdash;<i>Spectator.</i></p>
+
+<p>“A special feature of a work of peculiar interest and value are the
+illustrations.”&mdash;<i>Newcastle Chronicle.</i></p>
+
+<p>“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”&mdash;<i>Liverpool Post.</i></p>
+
+<p>“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”&mdash;<i>Birmingham Daily Post.</i></p>
+
+<p>“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”&mdash;<i>Academy.</i></p>
+
+<p>“It is certainly one of the most interesting books of the
+year.”&mdash;<i>Crown.</i></p>
+
+<p>“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”&mdash;<i>Guardian.</i></p>
+
+<p>“An excellent piece of work.”&mdash;<i>The Times.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has performed a useful work.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A truly sumptuous volume.”&mdash;<i>The Speaker.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given a very complete account of the evolution of
+Moresco art.”&mdash;<i>The Connoisseur.</i></p>
+
+<div class="footnotes"><p class="cb">FOOTNOTES:</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> He is reckoned as Mohammed VI. by the writers who deny the
+title of Sultan to the usurper of Mohammed V.’s throne.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> Known as Mohammed X.</p></div>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> I adopt Mr. U. R. Burke’s statement of the relationship
+between Abu-l-Hassan, Zoraya, and Boabdil. (Burke, “History of Spain,”
+II. p. 98.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> Here was lodged the cavalry of the Moorish Sultans.</p></div>
+
+</div>
+
+<div class="figcenter">
+<img src="images/back.jpg" width="341" height="550" alt="" title="" />
+</div>
+
+<hr class="full" />
+<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK GRANADA AND THE ALHAMBRA ***</div>
+<div style='text-align:left'>
+
+<div style='display:block; margin:1em 0'>
+Updated editions will replace the previous one&#8212;the old editions will
+be renamed.
+</div>
+
+<div style='display:block; margin:1em 0'>
+Creating the works from print editions not protected by U.S. copyright
+law means that no one owns a United States copyright in these works,
+so the Foundation (and you!) can copy and distribute it in the United
+States without permission and without paying copyright
+royalties. Special rules, set forth in the General Terms of Use part
+of this license, apply to copying and distributing Project
+Gutenberg&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;
+concept and trademark. Project Gutenberg is a registered trademark,
+and may not be used if you charge for an eBook, except by following
+the terms of the trademark license, including paying royalties for use
+of the Project Gutenberg trademark. If you do not charge anything for
+copies of this eBook, complying with the trademark license is very
+easy. You may use this eBook for nearly any purpose such as creation
+of derivative works, reports, performances and research. Project
+Gutenberg eBooks may be modified and printed and given away--you may
+do practically ANYTHING in the United States with eBooks not protected
+by U.S. copyright law. Redistribution is subject to the trademark
+license, especially commercial redistribution.
+</div>
+
+<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br />
+<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br />
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span>
+</div>
+
+<div style='display:block; margin:1em 0'>
+To protect the Project Gutenberg&#8482; mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase &#8220;Project
+Gutenberg&#8221;), you agree to comply with all the terms of the Full
+Project Gutenberg&#8482; License available with this file or online at
+www.gutenberg.org/license.
+</div>
+
+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
+Section 1. General Terms of Use and Redistributing Project Gutenberg&#8482; electronic works
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.A. By reading or using any part of this Project Gutenberg&#8482;
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or
+destroy all copies of Project Gutenberg&#8482; electronic works in your
+possession. If you paid a fee for obtaining a copy of or access to a
+Project Gutenberg&#8482; electronic work and you do not agree to be bound
+by the terms of this agreement, you may obtain a refund from the person
+or entity to whom you paid the fee as set forth in paragraph 1.E.8.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.B. &#8220;Project Gutenberg&#8221; is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg&#8482; electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg&#8482; electronic works if you follow the terms of this
+agreement and help preserve free future access to Project Gutenberg&#8482;
+electronic works. See paragraph 1.E below.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the
+Foundation&#8221; or PGLAF), owns a compilation copyright in the collection
+of Project Gutenberg&#8482; electronic works. Nearly all the individual
+works in the collection are in the public domain in the United
+States. If an individual work is unprotected by copyright law in the
+United States and you are located in the United States, we do not
+claim a right to prevent you from copying, distributing, performing,
+displaying or creating derivative works based on the work as long as
+all references to Project Gutenberg are removed. Of course, we hope
+that you will support the Project Gutenberg&#8482; mission of promoting
+free access to electronic works by freely sharing Project Gutenberg&#8482;
+works in compliance with the terms of this agreement for keeping the
+Project Gutenberg&#8482; name associated with the work. You can easily
+comply with the terms of this agreement by keeping this work in the
+same format with its attached full Project Gutenberg&#8482; License when
+you share it without charge with others.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are
+in a constant state of change. If you are outside the United States,
+check the laws of your country in addition to the terms of this
+agreement before downloading, copying, displaying, performing,
+distributing or creating derivative works based on this work or any
+other Project Gutenberg&#8482; work. The Foundation makes no
+representations concerning the copyright status of any work in any
+country other than the United States.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E. Unless you have removed all references to Project Gutenberg:
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.1. The following sentence, with active links to, or other
+immediate access to, the full Project Gutenberg&#8482; License must appear
+prominently whenever any copy of a Project Gutenberg&#8482; work (any work
+on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the
+phrase &#8220;Project Gutenberg&#8221; is associated) is accessed, displayed,
+performed, viewed, copied or distributed:
+</div>
+
+<blockquote>
+  <div style='display:block; margin:1em 0'>
+    This eBook is for the use of anyone anywhere in the United States and most
+    other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+    are not located in the United States, you will have to check the laws
+    of the country where you are located before using this eBook.
+  </div>
+</blockquote>
+
+<div style='display:block; margin:1em 0'>
+1.E.2. If an individual Project Gutenberg&#8482; electronic work is
+derived from texts not protected by U.S. copyright law (does not
+contain a notice indicating that it is posted with permission of the
+copyright holder), the work can be copied and distributed to anyone in
+the United States without paying any fees or charges. If you are
+redistributing or providing access to a work with the phrase &#8220;Project
+Gutenberg&#8221; associated with or appearing on the work, you must comply
+either with the requirements of paragraphs 1.E.1 through 1.E.7 or
+obtain permission for the use of the work and the Project Gutenberg&#8482;
+trademark as set forth in paragraphs 1.E.8 or 1.E.9.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.3. If an individual Project Gutenberg&#8482; electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any
+additional terms imposed by the copyright holder. Additional terms
+will be linked to the Project Gutenberg&#8482; License for all works
+posted with the permission of the copyright holder found at the
+beginning of this work.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg&#8482;
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg&#8482;.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg&#8482; License.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including
+any word processing or hypertext form. However, if you provide access
+to or distribute copies of a Project Gutenberg&#8482; work in a format
+other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official
+version posted on the official Project Gutenberg&#8482; website
+(www.gutenberg.org), you must, at no additional cost, fee or expense
+to the user, provide a copy, a means of exporting a copy, or a means
+of obtaining a copy upon request, of the work in its original &#8220;Plain
+Vanilla ASCII&#8221; or other form. Any alternate format must include the
+full Project Gutenberg&#8482; License as specified in paragraph 1.E.1.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg&#8482; works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg&#8482; electronic works
+provided that:
+</div>
+
+<div style='margin-left:0.7em;'>
+    <div style='text-indent:-0.7em'>
+        &bull; You pay a royalty fee of 20% of the gross profits you derive from
+        the use of Project Gutenberg&#8482; works calculated using the method
+        you already use to calculate your applicable taxes. The fee is owed
+        to the owner of the Project Gutenberg&#8482; trademark, but he has
+        agreed to donate royalties under this paragraph to the Project
+        Gutenberg Literary Archive Foundation. Royalty payments must be paid
+        within 60 days following each date on which you prepare (or are
+        legally required to prepare) your periodic tax returns. Royalty
+        payments should be clearly marked as such and sent to the Project
+        Gutenberg Literary Archive Foundation at the address specified in
+        Section 4, &#8220;Information about donations to the Project Gutenberg
+        Literary Archive Foundation.&#8221;
+    </div>
+
+    <div style='text-indent:-0.7em'>
+        &bull; You provide a full refund of any money paid by a user who notifies
+        you in writing (or by e-mail) within 30 days of receipt that s/he
+        does not agree to the terms of the full Project Gutenberg&#8482;
+        License. You must require such a user to return or destroy all
+        copies of the works possessed in a physical medium and discontinue
+        all use of and all access to other copies of Project Gutenberg&#8482;
+        works.
+    </div>
+
+    <div style='text-indent:-0.7em'>
+        &bull; You provide, in accordance with paragraph 1.F.3, a full refund of
+        any money paid for a work or a replacement copy, if a defect in the
+        electronic work is discovered and reported to you within 90 days of
+        receipt of the work.
+    </div>
+
+    <div style='text-indent:-0.7em'>
+        &bull; You comply with all other terms of this agreement for free
+        distribution of Project Gutenberg&#8482; works.
+    </div>
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.E.9. If you wish to charge a fee or distribute a Project
+Gutenberg&#8482; electronic work or group of works on different terms than
+are set forth in this agreement, you must obtain permission in writing
+from the Project Gutenberg Literary Archive Foundation, the manager of
+the Project Gutenberg&#8482; trademark. Contact the Foundation as set
+forth in Section 3 below.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.F.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+works not protected by U.S. copyright law in creating the Project
+Gutenberg&#8482; collection. Despite these efforts, Project Gutenberg&#8482;
+electronic works, and the medium on which they may be stored, may
+contain &#8220;Defects,&#8221; such as, but not limited to, incomplete, inaccurate
+or corrupt data, transcription errors, a copyright or other
+intellectual property infringement, a defective or damaged disk or
+other medium, a computer virus, or computer codes that damage or
+cannot be read by your equipment.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &#8220;Right
+of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg&#8482; trademark, and any other party distributing a Project
+Gutenberg&#8482; electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium
+with your written explanation. The person or entity that provided you
+with the defective work may elect to provide a replacement copy in
+lieu of a refund. If you received the work electronically, the person
+or entity providing it to you may choose to give you a second
+opportunity to receive the work electronically in lieu of a refund. If
+the second copy is also defective, you may demand a refund in writing
+without further opportunities to fix the problem.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you &#8216;AS-IS&#8217;, WITH NO
+OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of
+damages. If any disclaimer or limitation set forth in this agreement
+violates the law of the state applicable to this agreement, the
+agreement shall be interpreted to make the maximum disclaimer or
+limitation permitted by the applicable state law. The invalidity or
+unenforceability of any provision of this agreement shall not void the
+remaining provisions.
+</div>
+
+<div style='display:block; margin:1em 0'>
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg&#8482; electronic works in
+accordance with this agreement, and any volunteers associated with the
+production, promotion and distribution of Project Gutenberg&#8482;
+electronic works, harmless from all liability, costs and expenses,
+including legal fees, that arise directly or indirectly from any of
+the following which you do or cause to occur: (a) distribution of this
+or any Project Gutenberg&#8482; work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg&#8482; work, and (c) any
+Defect you cause.
+</div>
+
+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
+Section 2. Information about the Mission of Project Gutenberg&#8482;
+</div>
+
+<div style='display:block; margin:1em 0'>
+Project Gutenberg&#8482; is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of
+computers including obsolete, old, middle-aged and new computers. It
+exists because of the efforts of hundreds of volunteers and donations
+from people in all walks of life.
+</div>
+
+<div style='display:block; margin:1em 0'>
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg&#8482;&#8217;s
+goals and ensuring that the Project Gutenberg&#8482; collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg&#8482; and future
+generations. To learn more about the Project Gutenberg Literary
+Archive Foundation and how your efforts and donations can help, see
+Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
+</div>
+
+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
+Section 3. Information about the Project Gutenberg Literary Archive Foundation
+</div>
+
+<div style='display:block; margin:1em 0'>
+The Project Gutenberg Literary Archive Foundation is a non-profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation&#8217;s EIN or federal tax identification
+number is 64-6221541. Contributions to the Project Gutenberg Literary
+Archive Foundation are tax deductible to the full extent permitted by
+U.S. federal laws and your state&#8217;s laws.
+</div>
+
+<div style='display:block; margin:1em 0'>
+The Foundation&#8217;s business office is located at 809 North 1500 West,
+Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
+to date contact information can be found at the Foundation&#8217;s website
+and official page at www.gutenberg.org/contact
+</div>
+
+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
+Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
+</div>
+
+<div style='display:block; margin:1em 0'>
+Project Gutenberg&#8482; depends upon and cannot survive without widespread
+public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine-readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+</div>
+
+<div style='display:block; margin:1em 0'>
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To SEND
+DONATIONS or determine the status of compliance for any particular state
+visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>.
+</div>
+
+<div style='display:block; margin:1em 0'>
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+</div>
+
+<div style='display:block; margin:1em 0'>
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+</div>
+
+<div style='display:block; margin:1em 0'>
+Please check the Project Gutenberg web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including checks, online payments and credit card donations. To
+donate, please visit: www.gutenberg.org/donate
+</div>
+
+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
+Section 5. General Information About Project Gutenberg&#8482; electronic works
+</div>
+
+<div style='display:block; margin:1em 0'>
+Professor Michael S. Hart was the originator of the Project
+Gutenberg&#8482; concept of a library of electronic works that could be
+freely shared with anyone. For forty years, he produced and
+distributed Project Gutenberg&#8482; eBooks with only a loose network of
+volunteer support.
+</div>
+
+<div style='display:block; margin:1em 0'>
+Project Gutenberg&#8482; eBooks are often created from several printed
+editions, all of which are confirmed as not protected by copyright in
+the U.S. unless a copyright notice is included. Thus, we do not
+necessarily keep eBooks in compliance with any particular paper
+edition.
+</div>
+
+<div style='display:block; margin:1em 0'>
+Most people start at our website which has the main PG search
+facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>.
+</div>
+
+<div style='display:block; margin:1em 0'>
+This website includes information about Project Gutenberg&#8482;,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+</div>
+
+</div>
+
+</body>
+</html>
diff --git a/old/64620-h/images/back.jpg b/old/64620-h/images/back.jpg
new file mode 100644
index 0000000..8131ebe
--- /dev/null
+++ b/old/64620-h/images/back.jpg
diff --git a/old/64620-h/images/cover.jpg b/old/64620-h/images/cover.jpg
new file mode 100644
index 0000000..160e407
--- /dev/null
+++ b/old/64620-h/images/cover.jpg
diff --git a/old/64620-h/images/front.jpg b/old/64620-h/images/front.jpg
new file mode 100644
index 0000000..efb56ff
--- /dev/null
+++ b/old/64620-h/images/front.jpg
diff --git a/old/64620-h/images/map.jpg b/old/64620-h/images/map.jpg
new file mode 100644
index 0000000..2234162
--- /dev/null
+++ b/old/64620-h/images/map.jpg
diff --git a/old/64620-h/images/plt_001.jpg b/old/64620-h/images/plt_001.jpg
new file mode 100644
index 0000000..9c4c48e
--- /dev/null
+++ b/old/64620-h/images/plt_001.jpg
diff --git a/old/64620-h/images/plt_002.jpg b/old/64620-h/images/plt_002.jpg
new file mode 100644
index 0000000..0e4beb3
--- /dev/null
+++ b/old/64620-h/images/plt_002.jpg
diff --git a/old/64620-h/images/plt_003.jpg b/old/64620-h/images/plt_003.jpg
new file mode 100644
index 0000000..b945e36
--- /dev/null
+++ b/old/64620-h/images/plt_003.jpg
diff --git a/old/64620-h/images/plt_004.jpg b/old/64620-h/images/plt_004.jpg
new file mode 100644
index 0000000..0ced0ff
--- /dev/null
+++ b/old/64620-h/images/plt_004.jpg
diff --git a/old/64620-h/images/plt_005.jpg b/old/64620-h/images/plt_005.jpg
new file mode 100644
index 0000000..03951de
--- /dev/null
+++ b/old/64620-h/images/plt_005.jpg
diff --git a/old/64620-h/images/plt_006.jpg b/old/64620-h/images/plt_006.jpg
new file mode 100644
index 0000000..4cee0a8
--- /dev/null
+++ b/old/64620-h/images/plt_006.jpg
diff --git a/old/64620-h/images/plt_007.jpg b/old/64620-h/images/plt_007.jpg
new file mode 100644
index 0000000..d1ecca9
--- /dev/null
+++ b/old/64620-h/images/plt_007.jpg
diff --git a/old/64620-h/images/plt_008.jpg b/old/64620-h/images/plt_008.jpg
new file mode 100644
index 0000000..3f0dde8
--- /dev/null
+++ b/old/64620-h/images/plt_008.jpg
diff --git a/old/64620-h/images/plt_009.jpg b/old/64620-h/images/plt_009.jpg
new file mode 100644
index 0000000..93c9c1c
--- /dev/null
+++ b/old/64620-h/images/plt_009.jpg
diff --git a/old/64620-h/images/plt_010.jpg b/old/64620-h/images/plt_010.jpg
new file mode 100644
index 0000000..066ed40
--- /dev/null
+++ b/old/64620-h/images/plt_010.jpg
diff --git a/old/64620-h/images/plt_011.jpg b/old/64620-h/images/plt_011.jpg
new file mode 100644
index 0000000..2e19222
--- /dev/null
+++ b/old/64620-h/images/plt_011.jpg
diff --git a/old/64620-h/images/plt_012.jpg b/old/64620-h/images/plt_012.jpg
new file mode 100644
index 0000000..06f00b8
--- /dev/null
+++ b/old/64620-h/images/plt_012.jpg
diff --git a/old/64620-h/images/plt_013.jpg b/old/64620-h/images/plt_013.jpg
new file mode 100644
index 0000000..3bf6837
--- /dev/null
+++ b/old/64620-h/images/plt_013.jpg
diff --git a/old/64620-h/images/plt_014.jpg b/old/64620-h/images/plt_014.jpg
new file mode 100644
index 0000000..1bba9ef
--- /dev/null
+++ b/old/64620-h/images/plt_014.jpg
diff --git a/old/64620-h/images/plt_015.jpg b/old/64620-h/images/plt_015.jpg
new file mode 100644
index 0000000..70e25d0
--- /dev/null
+++ b/old/64620-h/images/plt_015.jpg
diff --git a/old/64620-h/images/plt_016.jpg b/old/64620-h/images/plt_016.jpg
new file mode 100644
index 0000000..ba0c423
--- /dev/null
+++ b/old/64620-h/images/plt_016.jpg
diff --git a/old/64620-h/images/plt_017.jpg b/old/64620-h/images/plt_017.jpg
new file mode 100644
index 0000000..a04b4e0
--- /dev/null
+++ b/old/64620-h/images/plt_017.jpg
diff --git a/old/64620-h/images/plt_018.jpg b/old/64620-h/images/plt_018.jpg
new file mode 100644
index 0000000..d80e068
--- /dev/null
+++ b/old/64620-h/images/plt_018.jpg
diff --git a/old/64620-h/images/plt_019.jpg b/old/64620-h/images/plt_019.jpg
new file mode 100644
index 0000000..42cec0d
--- /dev/null
+++ b/old/64620-h/images/plt_019.jpg
diff --git a/old/64620-h/images/plt_020.jpg b/old/64620-h/images/plt_020.jpg
new file mode 100644
index 0000000..e0d7535
--- /dev/null
+++ b/old/64620-h/images/plt_020.jpg
diff --git a/old/64620-h/images/plt_021.jpg b/old/64620-h/images/plt_021.jpg
new file mode 100644
index 0000000..48e104a
--- /dev/null
+++ b/old/64620-h/images/plt_021.jpg
diff --git a/old/64620-h/images/plt_022.jpg b/old/64620-h/images/plt_022.jpg
new file mode 100644
index 0000000..8919f61
--- /dev/null
+++ b/old/64620-h/images/plt_022.jpg
diff --git a/old/64620-h/images/plt_023.jpg b/old/64620-h/images/plt_023.jpg
new file mode 100644
index 0000000..df214ba
--- /dev/null
+++ b/old/64620-h/images/plt_023.jpg
diff --git a/old/64620-h/images/plt_024.jpg b/old/64620-h/images/plt_024.jpg
new file mode 100644
index 0000000..57b26bd
--- /dev/null
+++ b/old/64620-h/images/plt_024.jpg
diff --git a/old/64620-h/images/plt_025.jpg b/old/64620-h/images/plt_025.jpg
new file mode 100644
index 0000000..2991307
--- /dev/null
+++ b/old/64620-h/images/plt_025.jpg
diff --git a/old/64620-h/images/plt_026.jpg b/old/64620-h/images/plt_026.jpg
new file mode 100644
index 0000000..f34a604
--- /dev/null
+++ b/old/64620-h/images/plt_026.jpg
diff --git a/old/64620-h/images/plt_027.jpg b/old/64620-h/images/plt_027.jpg
new file mode 100644
index 0000000..604043c
--- /dev/null
+++ b/old/64620-h/images/plt_027.jpg
diff --git a/old/64620-h/images/plt_028.jpg b/old/64620-h/images/plt_028.jpg
new file mode 100644
index 0000000..d0a4b19
--- /dev/null
+++ b/old/64620-h/images/plt_028.jpg
diff --git a/old/64620-h/images/plt_029.jpg b/old/64620-h/images/plt_029.jpg
new file mode 100644
index 0000000..74b49a7
--- /dev/null
+++ b/old/64620-h/images/plt_029.jpg
diff --git a/old/64620-h/images/plt_030.jpg b/old/64620-h/images/plt_030.jpg
new file mode 100644
index 0000000..b38edc2
--- /dev/null
+++ b/old/64620-h/images/plt_030.jpg
diff --git a/old/64620-h/images/plt_031.jpg b/old/64620-h/images/plt_031.jpg
new file mode 100644
index 0000000..cb76fa9
--- /dev/null
+++ b/old/64620-h/images/plt_031.jpg
diff --git a/old/64620-h/images/plt_032.jpg b/old/64620-h/images/plt_032.jpg
new file mode 100644
index 0000000..5594f14
--- /dev/null
+++ b/old/64620-h/images/plt_032.jpg
diff --git a/old/64620-h/images/plt_033.jpg b/old/64620-h/images/plt_033.jpg
new file mode 100644
index 0000000..fba6d85
--- /dev/null
+++ b/old/64620-h/images/plt_033.jpg
diff --git a/old/64620-h/images/plt_034.jpg b/old/64620-h/images/plt_034.jpg
new file mode 100644
index 0000000..b0b8204
--- /dev/null
+++ b/old/64620-h/images/plt_034.jpg
diff --git a/old/64620-h/images/plt_035.jpg b/old/64620-h/images/plt_035.jpg
new file mode 100644
index 0000000..0270b84
--- /dev/null
+++ b/old/64620-h/images/plt_035.jpg
diff --git a/old/64620-h/images/plt_036.jpg b/old/64620-h/images/plt_036.jpg
new file mode 100644
index 0000000..3d5e514
--- /dev/null
+++ b/old/64620-h/images/plt_036.jpg
diff --git a/old/64620-h/images/plt_037.jpg b/old/64620-h/images/plt_037.jpg
new file mode 100644
index 0000000..005a05e
--- /dev/null
+++ b/old/64620-h/images/plt_037.jpg
diff --git a/old/64620-h/images/plt_038.jpg b/old/64620-h/images/plt_038.jpg
new file mode 100644
index 0000000..e034031
--- /dev/null
+++ b/old/64620-h/images/plt_038.jpg
diff --git a/old/64620-h/images/plt_039.jpg b/old/64620-h/images/plt_039.jpg
new file mode 100644
index 0000000..1651998
--- /dev/null
+++ b/old/64620-h/images/plt_039.jpg
diff --git a/old/64620-h/images/plt_040.jpg b/old/64620-h/images/plt_040.jpg
new file mode 100644
index 0000000..e1506a4
--- /dev/null
+++ b/old/64620-h/images/plt_040.jpg
diff --git a/old/64620-h/images/plt_041.jpg b/old/64620-h/images/plt_041.jpg
new file mode 100644
index 0000000..d9ab237
--- /dev/null
+++ b/old/64620-h/images/plt_041.jpg
diff --git a/old/64620-h/images/plt_042.jpg b/old/64620-h/images/plt_042.jpg
new file mode 100644
index 0000000..d70a735
--- /dev/null
+++ b/old/64620-h/images/plt_042.jpg
diff --git a/old/64620-h/images/plt_043.jpg b/old/64620-h/images/plt_043.jpg
new file mode 100644
index 0000000..6d82075
--- /dev/null
+++ b/old/64620-h/images/plt_043.jpg
diff --git a/old/64620-h/images/plt_044.jpg b/old/64620-h/images/plt_044.jpg
new file mode 100644
index 0000000..3f9e3e0
--- /dev/null
+++ b/old/64620-h/images/plt_044.jpg
diff --git a/old/64620-h/images/plt_045.jpg b/old/64620-h/images/plt_045.jpg
new file mode 100644
index 0000000..3486905
--- /dev/null
+++ b/old/64620-h/images/plt_045.jpg
diff --git a/old/64620-h/images/plt_046.jpg b/old/64620-h/images/plt_046.jpg
new file mode 100644
index 0000000..73152f5
--- /dev/null
+++ b/old/64620-h/images/plt_046.jpg
diff --git a/old/64620-h/images/plt_047.jpg b/old/64620-h/images/plt_047.jpg
new file mode 100644
index 0000000..65de968
--- /dev/null
+++ b/old/64620-h/images/plt_047.jpg
diff --git a/old/64620-h/images/plt_048.jpg b/old/64620-h/images/plt_048.jpg
new file mode 100644
index 0000000..37a33e1
--- /dev/null
+++ b/old/64620-h/images/plt_048.jpg
diff --git a/old/64620-h/images/plt_049.jpg b/old/64620-h/images/plt_049.jpg
new file mode 100644
index 0000000..4f401d4
--- /dev/null
+++ b/old/64620-h/images/plt_049.jpg
diff --git a/old/64620-h/images/plt_050.jpg b/old/64620-h/images/plt_050.jpg
new file mode 100644
index 0000000..3a5040e
--- /dev/null
+++ b/old/64620-h/images/plt_050.jpg
diff --git a/old/64620-h/images/plt_051.jpg b/old/64620-h/images/plt_051.jpg
new file mode 100644
index 0000000..7a679da
--- /dev/null
+++ b/old/64620-h/images/plt_051.jpg
diff --git a/old/64620-h/images/plt_052.jpg b/old/64620-h/images/plt_052.jpg
new file mode 100644
index 0000000..1903f8f
--- /dev/null
+++ b/old/64620-h/images/plt_052.jpg
diff --git a/old/64620-h/images/plt_053.jpg b/old/64620-h/images/plt_053.jpg
new file mode 100644
index 0000000..7bda9c3
--- /dev/null
+++ b/old/64620-h/images/plt_053.jpg
diff --git a/old/64620-h/images/plt_054.jpg b/old/64620-h/images/plt_054.jpg
new file mode 100644
index 0000000..2fa5db9
--- /dev/null
+++ b/old/64620-h/images/plt_054.jpg
diff --git a/old/64620-h/images/plt_055.jpg b/old/64620-h/images/plt_055.jpg
new file mode 100644
index 0000000..4abe33f
--- /dev/null
+++ b/old/64620-h/images/plt_055.jpg
diff --git a/old/64620-h/images/plt_056.jpg b/old/64620-h/images/plt_056.jpg
new file mode 100644
index 0000000..2114322
--- /dev/null
+++ b/old/64620-h/images/plt_056.jpg
diff --git a/old/64620-h/images/plt_057.jpg b/old/64620-h/images/plt_057.jpg
new file mode 100644
index 0000000..8c6d7da
--- /dev/null
+++ b/old/64620-h/images/plt_057.jpg
diff --git a/old/64620-h/images/plt_058.jpg b/old/64620-h/images/plt_058.jpg
new file mode 100644
index 0000000..61d7f87
--- /dev/null
+++ b/old/64620-h/images/plt_058.jpg
diff --git a/old/64620-h/images/plt_059.jpg b/old/64620-h/images/plt_059.jpg
new file mode 100644
index 0000000..9fcf249
--- /dev/null
+++ b/old/64620-h/images/plt_059.jpg
diff --git a/old/64620-h/images/plt_060.jpg b/old/64620-h/images/plt_060.jpg
new file mode 100644
index 0000000..01f0453
--- /dev/null
+++ b/old/64620-h/images/plt_060.jpg
diff --git a/old/64620-h/images/plt_061.jpg b/old/64620-h/images/plt_061.jpg
new file mode 100644
index 0000000..8a80d7e
--- /dev/null
+++ b/old/64620-h/images/plt_061.jpg
diff --git a/old/64620-h/images/plt_062.jpg b/old/64620-h/images/plt_062.jpg
new file mode 100644
index 0000000..c25798b
--- /dev/null
+++ b/old/64620-h/images/plt_062.jpg
diff --git a/old/64620-h/images/plt_063.jpg b/old/64620-h/images/plt_063.jpg
new file mode 100644
index 0000000..baa8c0f
--- /dev/null
+++ b/old/64620-h/images/plt_063.jpg
diff --git a/old/64620-h/images/plt_064.jpg b/old/64620-h/images/plt_064.jpg
new file mode 100644
index 0000000..03eb566
--- /dev/null
+++ b/old/64620-h/images/plt_064.jpg
diff --git a/old/64620-h/images/plt_065.jpg b/old/64620-h/images/plt_065.jpg
new file mode 100644
index 0000000..0f0badf
--- /dev/null
+++ b/old/64620-h/images/plt_065.jpg
diff --git a/old/64620-h/images/plt_066.jpg b/old/64620-h/images/plt_066.jpg
new file mode 100644
index 0000000..13ae2e0
--- /dev/null
+++ b/old/64620-h/images/plt_066.jpg
diff --git a/old/64620-h/images/plt_067.jpg b/old/64620-h/images/plt_067.jpg
new file mode 100644
index 0000000..c64fb5d
--- /dev/null
+++ b/old/64620-h/images/plt_067.jpg
diff --git a/old/64620-h/images/plt_068.jpg b/old/64620-h/images/plt_068.jpg
new file mode 100644
index 0000000..5df9b97
--- /dev/null
+++ b/old/64620-h/images/plt_068.jpg
diff --git a/old/64620-h/images/plt_069.jpg b/old/64620-h/images/plt_069.jpg
new file mode 100644
index 0000000..090e8af
--- /dev/null
+++ b/old/64620-h/images/plt_069.jpg
diff --git a/old/64620-h/images/plt_070.jpg b/old/64620-h/images/plt_070.jpg
new file mode 100644
index 0000000..afc7196
--- /dev/null
+++ b/old/64620-h/images/plt_070.jpg
diff --git a/old/64620-h/images/plt_071.jpg b/old/64620-h/images/plt_071.jpg
new file mode 100644
index 0000000..a770c54
--- /dev/null
+++ b/old/64620-h/images/plt_071.jpg
diff --git a/old/64620-h/images/plt_072.jpg b/old/64620-h/images/plt_072.jpg
new file mode 100644
index 0000000..ee8a8ff
--- /dev/null
+++ b/old/64620-h/images/plt_072.jpg
diff --git a/old/64620-h/images/plt_073.jpg b/old/64620-h/images/plt_073.jpg
new file mode 100644
index 0000000..e530c20
--- /dev/null
+++ b/old/64620-h/images/plt_073.jpg
diff --git a/old/64620-h/images/plt_074.jpg b/old/64620-h/images/plt_074.jpg
new file mode 100644
index 0000000..2aa41a1
--- /dev/null
+++ b/old/64620-h/images/plt_074.jpg
diff --git a/old/64620-h/images/plt_075.jpg b/old/64620-h/images/plt_075.jpg
new file mode 100644
index 0000000..3042d3b
--- /dev/null
+++ b/old/64620-h/images/plt_075.jpg
diff --git a/old/64620-h/images/plt_076.jpg b/old/64620-h/images/plt_076.jpg
new file mode 100644
index 0000000..f2c0224
--- /dev/null
+++ b/old/64620-h/images/plt_076.jpg
diff --git a/old/64620-h/images/plt_077.jpg b/old/64620-h/images/plt_077.jpg
new file mode 100644
index 0000000..c4c5246
--- /dev/null
+++ b/old/64620-h/images/plt_077.jpg
diff --git a/old/64620-h/images/plt_078.jpg b/old/64620-h/images/plt_078.jpg
new file mode 100644
index 0000000..a371b71
--- /dev/null
+++ b/old/64620-h/images/plt_078.jpg
diff --git a/old/64620-h/images/plt_079.jpg b/old/64620-h/images/plt_079.jpg
new file mode 100644
index 0000000..463efb2
--- /dev/null
+++ b/old/64620-h/images/plt_079.jpg
diff --git a/old/64620-h/images/plt_080.jpg b/old/64620-h/images/plt_080.jpg
new file mode 100644
index 0000000..6533887
--- /dev/null
+++ b/old/64620-h/images/plt_080.jpg
diff --git a/old/64620-h/images/plt_081.jpg b/old/64620-h/images/plt_081.jpg
new file mode 100644
index 0000000..0cb595e
--- /dev/null
+++ b/old/64620-h/images/plt_081.jpg
diff --git a/old/64620-h/images/plt_082.jpg b/old/64620-h/images/plt_082.jpg
new file mode 100644
index 0000000..4ee9c0b
--- /dev/null
+++ b/old/64620-h/images/plt_082.jpg
diff --git a/old/64620-h/images/plt_083.jpg b/old/64620-h/images/plt_083.jpg
new file mode 100644
index 0000000..a457534
--- /dev/null
+++ b/old/64620-h/images/plt_083.jpg
diff --git a/old/64620-h/images/plt_084.jpg b/old/64620-h/images/plt_084.jpg
new file mode 100644
index 0000000..c8c083e
--- /dev/null
+++ b/old/64620-h/images/plt_084.jpg
diff --git a/old/64620-h/images/plt_085.jpg b/old/64620-h/images/plt_085.jpg
new file mode 100644
index 0000000..f09a8e8
--- /dev/null
+++ b/old/64620-h/images/plt_085.jpg
diff --git a/old/64620-h/images/plt_086.jpg b/old/64620-h/images/plt_086.jpg
new file mode 100644
index 0000000..0edc8d7
--- /dev/null
+++ b/old/64620-h/images/plt_086.jpg
diff --git a/old/64620-h/images/plt_087.jpg b/old/64620-h/images/plt_087.jpg
new file mode 100644
index 0000000..f8adf59
--- /dev/null
+++ b/old/64620-h/images/plt_087.jpg
diff --git a/old/64620-h/images/plt_088.jpg b/old/64620-h/images/plt_088.jpg
new file mode 100644
index 0000000..3a5287a
--- /dev/null
+++ b/old/64620-h/images/plt_088.jpg
diff --git a/old/64620-h/images/plt_089.jpg b/old/64620-h/images/plt_089.jpg
new file mode 100644
index 0000000..d315515
--- /dev/null
+++ b/old/64620-h/images/plt_089.jpg
diff --git a/old/64620-h/images/plt_090.jpg b/old/64620-h/images/plt_090.jpg
new file mode 100644
index 0000000..35020c1
--- /dev/null
+++ b/old/64620-h/images/plt_090.jpg
diff --git a/old/64620-h/images/plt_091.jpg b/old/64620-h/images/plt_091.jpg
new file mode 100644
index 0000000..e18f303
--- /dev/null
+++ b/old/64620-h/images/plt_091.jpg
diff --git a/old/64620-h/images/plt_092.jpg b/old/64620-h/images/plt_092.jpg
new file mode 100644
index 0000000..92bb6cf
--- /dev/null
+++ b/old/64620-h/images/plt_092.jpg
diff --git a/old/64620-h/images/plt_093.jpg b/old/64620-h/images/plt_093.jpg
new file mode 100644
index 0000000..12de7b6
--- /dev/null
+++ b/old/64620-h/images/plt_093.jpg
diff --git a/old/64620-h/images/plt_094.jpg b/old/64620-h/images/plt_094.jpg
new file mode 100644
index 0000000..02cd68a
--- /dev/null
+++ b/old/64620-h/images/plt_094.jpg
diff --git a/old/64620-h/images/plt_095.jpg b/old/64620-h/images/plt_095.jpg
new file mode 100644
index 0000000..c40ac12
--- /dev/null
+++ b/old/64620-h/images/plt_095.jpg
diff --git a/old/64620-h/images/plt_096.jpg b/old/64620-h/images/plt_096.jpg
new file mode 100644
index 0000000..90197d1
--- /dev/null
+++ b/old/64620-h/images/plt_096.jpg
diff --git a/old/64620-h/images/plt_097.jpg b/old/64620-h/images/plt_097.jpg
new file mode 100644
index 0000000..7d1a7b7
--- /dev/null
+++ b/old/64620-h/images/plt_097.jpg
diff --git a/old/64620-h/images/plt_098.jpg b/old/64620-h/images/plt_098.jpg
new file mode 100644
index 0000000..a9919cf
--- /dev/null
+++ b/old/64620-h/images/plt_098.jpg
diff --git a/old/64620-h/images/plt_099.jpg b/old/64620-h/images/plt_099.jpg
new file mode 100644
index 0000000..65e7bd2
--- /dev/null
+++ b/old/64620-h/images/plt_099.jpg
diff --git a/old/64620-h/images/plt_100.jpg b/old/64620-h/images/plt_100.jpg
new file mode 100644
index 0000000..70602ca
--- /dev/null
+++ b/old/64620-h/images/plt_100.jpg
diff --git a/old/64620-h/images/plt_101.jpg b/old/64620-h/images/plt_101.jpg
new file mode 100644
index 0000000..40d321a
--- /dev/null
+++ b/old/64620-h/images/plt_101.jpg
diff --git a/old/64620-h/images/plt_102.jpg b/old/64620-h/images/plt_102.jpg
new file mode 100644
index 0000000..17a7ba0
--- /dev/null
+++ b/old/64620-h/images/plt_102.jpg
diff --git a/old/64620-h/images/plt_103.jpg b/old/64620-h/images/plt_103.jpg
new file mode 100644
index 0000000..198172c
--- /dev/null
+++ b/old/64620-h/images/plt_103.jpg
diff --git a/old/64620-h/images/plt_104.jpg b/old/64620-h/images/plt_104.jpg
new file mode 100644
index 0000000..68e7785
--- /dev/null
+++ b/old/64620-h/images/plt_104.jpg
diff --git a/old/64620-h/images/plt_105.jpg b/old/64620-h/images/plt_105.jpg
new file mode 100644
index 0000000..bbc3b55
--- /dev/null
+++ b/old/64620-h/images/plt_105.jpg
diff --git a/old/64620-h/images/plt_106.jpg b/old/64620-h/images/plt_106.jpg
new file mode 100644
index 0000000..5810604
--- /dev/null
+++ b/old/64620-h/images/plt_106.jpg
diff --git a/old/64620-h/images/plt_107.jpg b/old/64620-h/images/plt_107.jpg
new file mode 100644
index 0000000..9ada492
--- /dev/null
+++ b/old/64620-h/images/plt_107.jpg
diff --git a/old/64620-h/images/plt_108.jpg b/old/64620-h/images/plt_108.jpg
new file mode 100644
index 0000000..446f1aa
--- /dev/null
+++ b/old/64620-h/images/plt_108.jpg
diff --git a/old/64620-h/images/plt_109.jpg b/old/64620-h/images/plt_109.jpg
new file mode 100644
index 0000000..a8f0538
--- /dev/null
+++ b/old/64620-h/images/plt_109.jpg
diff --git a/old/64620-h/images/plt_110.jpg b/old/64620-h/images/plt_110.jpg
new file mode 100644
index 0000000..47c6500
--- /dev/null
+++ b/old/64620-h/images/plt_110.jpg
diff --git a/old/64620-h/images/plt_111.jpg b/old/64620-h/images/plt_111.jpg
new file mode 100644
index 0000000..b4d51f7
--- /dev/null
+++ b/old/64620-h/images/plt_111.jpg
diff --git a/old/64620-h/images/plt_112.jpg b/old/64620-h/images/plt_112.jpg
new file mode 100644
index 0000000..0cc8d54
--- /dev/null
+++ b/old/64620-h/images/plt_112.jpg
diff --git a/old/64620-h/images/plt_113.jpg b/old/64620-h/images/plt_113.jpg
new file mode 100644
index 0000000..603833c
--- /dev/null
+++ b/old/64620-h/images/plt_113.jpg
diff --git a/old/64620-h/images/plt_114.jpg b/old/64620-h/images/plt_114.jpg
new file mode 100644
index 0000000..7fac58a
--- /dev/null
+++ b/old/64620-h/images/plt_114.jpg
diff --git a/old/64620-h/images/plt_115.jpg b/old/64620-h/images/plt_115.jpg
new file mode 100644
index 0000000..12f2d65
--- /dev/null
+++ b/old/64620-h/images/plt_115.jpg
diff --git a/old/64620-h/images/plt_116.jpg b/old/64620-h/images/plt_116.jpg
new file mode 100644
index 0000000..873138a
--- /dev/null
+++ b/old/64620-h/images/plt_116.jpg
diff --git a/old/64620-h/images/plt_117.jpg b/old/64620-h/images/plt_117.jpg
new file mode 100644
index 0000000..f04c44e
--- /dev/null
+++ b/old/64620-h/images/plt_117.jpg
diff --git a/old/64620-h/images/plt_118.jpg b/old/64620-h/images/plt_118.jpg
new file mode 100644
index 0000000..b289ce7
--- /dev/null
+++ b/old/64620-h/images/plt_118.jpg
diff --git a/old/64620-h/images/plt_119.jpg b/old/64620-h/images/plt_119.jpg
new file mode 100644
index 0000000..4732adc
--- /dev/null
+++ b/old/64620-h/images/plt_119.jpg
diff --git a/old/64620-h/images/plt_120.jpg b/old/64620-h/images/plt_120.jpg
new file mode 100644
index 0000000..fd1c97b
--- /dev/null
+++ b/old/64620-h/images/plt_120.jpg
diff --git a/old/64620-h/images/plt_121.jpg b/old/64620-h/images/plt_121.jpg
new file mode 100644
index 0000000..27dc1d2
--- /dev/null
+++ b/old/64620-h/images/plt_121.jpg
diff --git a/old/64620-h/images/plt_122.jpg b/old/64620-h/images/plt_122.jpg
new file mode 100644
index 0000000..1f67f06
--- /dev/null
+++ b/old/64620-h/images/plt_122.jpg
diff --git a/old/64620-h/images/plt_123.jpg b/old/64620-h/images/plt_123.jpg
new file mode 100644
index 0000000..2ccb417
--- /dev/null
+++ b/old/64620-h/images/plt_123.jpg
diff --git a/old/64620-h/images/plt_124.jpg b/old/64620-h/images/plt_124.jpg
new file mode 100644
index 0000000..af7cd64
--- /dev/null
+++ b/old/64620-h/images/plt_124.jpg
diff --git a/old/64620-h/images/plt_125.jpg b/old/64620-h/images/plt_125.jpg
new file mode 100644
index 0000000..b4f083d
--- /dev/null
+++ b/old/64620-h/images/plt_125.jpg
diff --git a/old/64620-h/images/plt_126.jpg b/old/64620-h/images/plt_126.jpg
new file mode 100644
index 0000000..84f3b62
--- /dev/null
+++ b/old/64620-h/images/plt_126.jpg
diff --git a/old/64620-h/images/plt_127.jpg b/old/64620-h/images/plt_127.jpg
new file mode 100644
index 0000000..e5626cc
--- /dev/null
+++ b/old/64620-h/images/plt_127.jpg
diff --git a/old/64620-h/images/plt_128.jpg b/old/64620-h/images/plt_128.jpg
new file mode 100644
index 0000000..e64c36c
--- /dev/null
+++ b/old/64620-h/images/plt_128.jpg
diff --git a/old/64620-h/images/plt_129.jpg b/old/64620-h/images/plt_129.jpg
new file mode 100644
index 0000000..de40db3
--- /dev/null
+++ b/old/64620-h/images/plt_129.jpg
diff --git a/old/64620-h/images/plt_130.jpg b/old/64620-h/images/plt_130.jpg
new file mode 100644
index 0000000..c6fc08b
--- /dev/null
+++ b/old/64620-h/images/plt_130.jpg
diff --git a/old/64620-h/images/plt_131.jpg b/old/64620-h/images/plt_131.jpg
new file mode 100644
index 0000000..b01e843
--- /dev/null
+++ b/old/64620-h/images/plt_131.jpg
diff --git a/old/64620-h/images/plt_132.jpg b/old/64620-h/images/plt_132.jpg
new file mode 100644
index 0000000..2647e86
--- /dev/null
+++ b/old/64620-h/images/plt_132.jpg
diff --git a/old/64620-h/images/plt_133.jpg b/old/64620-h/images/plt_133.jpg
new file mode 100644
index 0000000..caa58d0
--- /dev/null
+++ b/old/64620-h/images/plt_133.jpg
diff --git a/old/64620-h/images/plt_134.jpg b/old/64620-h/images/plt_134.jpg
new file mode 100644
index 0000000..5a8389a
--- /dev/null
+++ b/old/64620-h/images/plt_134.jpg
diff --git a/old/64620-h/images/plt_135.jpg b/old/64620-h/images/plt_135.jpg
new file mode 100644
index 0000000..650b6bf
--- /dev/null
+++ b/old/64620-h/images/plt_135.jpg
diff --git a/old/64620-h/images/plt_136.jpg b/old/64620-h/images/plt_136.jpg
new file mode 100644
index 0000000..3531b68
--- /dev/null
+++ b/old/64620-h/images/plt_136.jpg
diff --git a/old/64620-h/images/plt_137.jpg b/old/64620-h/images/plt_137.jpg
new file mode 100644
index 0000000..a20f213
--- /dev/null
+++ b/old/64620-h/images/plt_137.jpg
diff --git a/old/64620-h/images/plt_138.jpg b/old/64620-h/images/plt_138.jpg
new file mode 100644
index 0000000..08b72fd
--- /dev/null
+++ b/old/64620-h/images/plt_138.jpg
diff --git a/old/64620-h/images/plt_139.jpg b/old/64620-h/images/plt_139.jpg
new file mode 100644
index 0000000..8f01b2d
--- /dev/null
+++ b/old/64620-h/images/plt_139.jpg
diff --git a/old/64620-h/images/plt_140.jpg b/old/64620-h/images/plt_140.jpg
new file mode 100644
index 0000000..5dd1884
--- /dev/null
+++ b/old/64620-h/images/plt_140.jpg
diff --git a/old/64620-h/images/plt_141.jpg b/old/64620-h/images/plt_141.jpg
new file mode 100644
index 0000000..ad25d17
--- /dev/null
+++ b/old/64620-h/images/plt_141.jpg
diff --git a/old/64620-h/images/plt_142.jpg b/old/64620-h/images/plt_142.jpg
new file mode 100644
index 0000000..0c65738
--- /dev/null
+++ b/old/64620-h/images/plt_142.jpg
diff --git a/old/64620-h/images/plt_143.jpg b/old/64620-h/images/plt_143.jpg
new file mode 100644
index 0000000..d292a4a
--- /dev/null
+++ b/old/64620-h/images/plt_143.jpg
diff --git a/old/64620-h/images/plt_144.jpg b/old/64620-h/images/plt_144.jpg
new file mode 100644
index 0000000..17a388c
--- /dev/null
+++ b/old/64620-h/images/plt_144.jpg
diff --git a/old/64620-h/images/plt_145.jpg b/old/64620-h/images/plt_145.jpg
new file mode 100644
index 0000000..eb6019c
--- /dev/null
+++ b/old/64620-h/images/plt_145.jpg
diff --git a/old/64620-h/images/plt_146.jpg b/old/64620-h/images/plt_146.jpg
new file mode 100644
index 0000000..bab120c
--- /dev/null
+++ b/old/64620-h/images/plt_146.jpg
diff --git a/old/64620-h/images/plt_147.jpg b/old/64620-h/images/plt_147.jpg
new file mode 100644
index 0000000..98b120a
--- /dev/null
+++ b/old/64620-h/images/plt_147.jpg
diff --git a/old/64620-h/images/plt_148.jpg b/old/64620-h/images/plt_148.jpg
new file mode 100644
index 0000000..a3b51ff
--- /dev/null
+++ b/old/64620-h/images/plt_148.jpg
diff --git a/old/64620-h/images/plt_149.jpg b/old/64620-h/images/plt_149.jpg
new file mode 100644
index 0000000..aaefb7f
--- /dev/null
+++ b/old/64620-h/images/plt_149.jpg
diff --git a/old/64620-h/images/plt_150.jpg b/old/64620-h/images/plt_150.jpg
new file mode 100644
index 0000000..85a83bf
--- /dev/null
+++ b/old/64620-h/images/plt_150.jpg
diff --git a/old/64620-h/images/plt_151.jpg b/old/64620-h/images/plt_151.jpg
new file mode 100644
index 0000000..8002625
--- /dev/null
+++ b/old/64620-h/images/plt_151.jpg
diff --git a/old/64620-h/images/plt_152.jpg b/old/64620-h/images/plt_152.jpg
new file mode 100644
index 0000000..0dfa5c3
--- /dev/null
+++ b/old/64620-h/images/plt_152.jpg
diff --git a/old/64620-h/images/plt_153.jpg b/old/64620-h/images/plt_153.jpg
new file mode 100644
index 0000000..0386f99
--- /dev/null
+++ b/old/64620-h/images/plt_153.jpg
diff --git a/old/64620-h/images/plt_154.jpg b/old/64620-h/images/plt_154.jpg
new file mode 100644
index 0000000..5159972
--- /dev/null
+++ b/old/64620-h/images/plt_154.jpg
diff --git a/old/64620-h/images/plt_155.jpg b/old/64620-h/images/plt_155.jpg
new file mode 100644
index 0000000..9435f6c
--- /dev/null
+++ b/old/64620-h/images/plt_155.jpg
diff --git a/old/64620-h/images/plt_156.jpg b/old/64620-h/images/plt_156.jpg
new file mode 100644
index 0000000..c045553
--- /dev/null
+++ b/old/64620-h/images/plt_156.jpg
diff --git a/old/64620-h/images/plt_157.jpg b/old/64620-h/images/plt_157.jpg
new file mode 100644
index 0000000..3f1eeb1
--- /dev/null
+++ b/old/64620-h/images/plt_157.jpg
diff --git a/old/64620-h/images/plt_158.jpg b/old/64620-h/images/plt_158.jpg
new file mode 100644
index 0000000..29d1d7a
--- /dev/null
+++ b/old/64620-h/images/plt_158.jpg
diff --git a/old/64620-h/images/plt_159.jpg b/old/64620-h/images/plt_159.jpg
new file mode 100644
index 0000000..cfa9a1e
--- /dev/null
+++ b/old/64620-h/images/plt_159.jpg
diff --git a/old/64620-h/images/plt_160.jpg b/old/64620-h/images/plt_160.jpg
new file mode 100644
index 0000000..03413c2
--- /dev/null
+++ b/old/64620-h/images/plt_160.jpg
diff --git a/old/64620-h/images/plt_161.jpg b/old/64620-h/images/plt_161.jpg
new file mode 100644
index 0000000..db6c8ad
--- /dev/null
+++ b/old/64620-h/images/plt_161.jpg
diff --git a/old/64620-h/images/plt_162.jpg b/old/64620-h/images/plt_162.jpg
new file mode 100644
index 0000000..13f03d2
--- /dev/null
+++ b/old/64620-h/images/plt_162.jpg
diff --git a/old/64620-h/images/plt_163.jpg b/old/64620-h/images/plt_163.jpg
new file mode 100644
index 0000000..c34b207
--- /dev/null
+++ b/old/64620-h/images/plt_163.jpg
diff --git a/old/64620-h/images/plt_164.jpg b/old/64620-h/images/plt_164.jpg
new file mode 100644
index 0000000..918c4c8
--- /dev/null
+++ b/old/64620-h/images/plt_164.jpg
diff --git a/old/64620-h/images/plt_165.jpg b/old/64620-h/images/plt_165.jpg
new file mode 100644
index 0000000..69e64da
--- /dev/null
+++ b/old/64620-h/images/plt_165.jpg
diff --git a/old/64620-h/images/plt_166.jpg b/old/64620-h/images/plt_166.jpg
new file mode 100644
index 0000000..7c23112
--- /dev/null
+++ b/old/64620-h/images/plt_166.jpg
diff --git a/old/64620-h/images/plt_167.jpg b/old/64620-h/images/plt_167.jpg
new file mode 100644
index 0000000..4022c50
--- /dev/null
+++ b/old/64620-h/images/plt_167.jpg
diff --git a/old/64620-h/images/plt_168.jpg b/old/64620-h/images/plt_168.jpg
new file mode 100644
index 0000000..3429934
--- /dev/null
+++ b/old/64620-h/images/plt_168.jpg
diff --git a/old/64620-h/images/plt_169.jpg b/old/64620-h/images/plt_169.jpg
new file mode 100644
index 0000000..ee280aa
--- /dev/null
+++ b/old/64620-h/images/plt_169.jpg
diff --git a/old/64620-h/images/plt_170.jpg b/old/64620-h/images/plt_170.jpg
new file mode 100644
index 0000000..297daa0
--- /dev/null
+++ b/old/64620-h/images/plt_170.jpg
diff --git a/old/64620-h/images/plt_171.jpg b/old/64620-h/images/plt_171.jpg
new file mode 100644
index 0000000..3669274
--- /dev/null
+++ b/old/64620-h/images/plt_171.jpg
diff --git a/old/64620-h/images/plt_172.jpg b/old/64620-h/images/plt_172.jpg
new file mode 100644
index 0000000..629a81a
--- /dev/null
+++ b/old/64620-h/images/plt_172.jpg
diff --git a/old/64620-h/images/plt_173.jpg b/old/64620-h/images/plt_173.jpg
new file mode 100644
index 0000000..fe80010
--- /dev/null
+++ b/old/64620-h/images/plt_173.jpg
diff --git a/old/64620-h/images/plt_174.jpg b/old/64620-h/images/plt_174.jpg
new file mode 100644
index 0000000..6abd50d
--- /dev/null
+++ b/old/64620-h/images/plt_174.jpg
diff --git a/old/64620-h/images/plt_175.jpg b/old/64620-h/images/plt_175.jpg
new file mode 100644
index 0000000..83dea40
--- /dev/null
+++ b/old/64620-h/images/plt_175.jpg
diff --git a/old/64620-h/images/plt_176.jpg b/old/64620-h/images/plt_176.jpg
new file mode 100644
index 0000000..9651cae
--- /dev/null
+++ b/old/64620-h/images/plt_176.jpg
diff --git a/old/64620-h/images/plt_177.jpg b/old/64620-h/images/plt_177.jpg
new file mode 100644
index 0000000..276a149
--- /dev/null
+++ b/old/64620-h/images/plt_177.jpg
diff --git a/old/64620-h/images/plt_178.jpg b/old/64620-h/images/plt_178.jpg
new file mode 100644
index 0000000..b23e420
--- /dev/null
+++ b/old/64620-h/images/plt_178.jpg
diff --git a/old/64620-h/images/plt_179.jpg b/old/64620-h/images/plt_179.jpg
new file mode 100644
index 0000000..6ab01a1
--- /dev/null
+++ b/old/64620-h/images/plt_179.jpg
diff --git a/old/64620-h/images/plt_180.jpg b/old/64620-h/images/plt_180.jpg
new file mode 100644
index 0000000..3ca53b7
--- /dev/null
+++ b/old/64620-h/images/plt_180.jpg
diff --git a/old/64620-h/images/plt_181.jpg b/old/64620-h/images/plt_181.jpg
new file mode 100644
index 0000000..e194c1b
--- /dev/null
+++ b/old/64620-h/images/plt_181.jpg
diff --git a/old/64620-h/images/plt_182.jpg b/old/64620-h/images/plt_182.jpg
new file mode 100644
index 0000000..a9ceb29
--- /dev/null
+++ b/old/64620-h/images/plt_182.jpg
diff --git a/old/64620-h/images/plt_183.jpg b/old/64620-h/images/plt_183.jpg
new file mode 100644
index 0000000..f222b21
--- /dev/null
+++ b/old/64620-h/images/plt_183.jpg
diff --git a/old/64620-h/images/plt_184.jpg b/old/64620-h/images/plt_184.jpg
new file mode 100644
index 0000000..46c7930
--- /dev/null
+++ b/old/64620-h/images/plt_184.jpg
diff --git a/old/64620-h/images/plt_185.jpg b/old/64620-h/images/plt_185.jpg
new file mode 100644
index 0000000..2d63f03
--- /dev/null
+++ b/old/64620-h/images/plt_185.jpg
diff --git a/old/64620-h/images/plt_186.jpg b/old/64620-h/images/plt_186.jpg
new file mode 100644
index 0000000..088b97d
--- /dev/null
+++ b/old/64620-h/images/plt_186.jpg
diff --git a/old/64620-h/images/plt_187.jpg b/old/64620-h/images/plt_187.jpg
new file mode 100644
index 0000000..7da8587
--- /dev/null
+++ b/old/64620-h/images/plt_187.jpg
diff --git a/old/64620-h/images/plt_188.jpg b/old/64620-h/images/plt_188.jpg
new file mode 100644
index 0000000..4a9869f
--- /dev/null
+++ b/old/64620-h/images/plt_188.jpg
diff --git a/old/64620-h/images/plt_189.jpg b/old/64620-h/images/plt_189.jpg
new file mode 100644
index 0000000..b12c980
--- /dev/null
+++ b/old/64620-h/images/plt_189.jpg
diff --git a/old/64620-h/images/plt_190.jpg b/old/64620-h/images/plt_190.jpg
new file mode 100644
index 0000000..89f4609
--- /dev/null
+++ b/old/64620-h/images/plt_190.jpg
diff --git a/old/64620-h/images/plt_191.jpg b/old/64620-h/images/plt_191.jpg
new file mode 100644
index 0000000..34aad8e
--- /dev/null
+++ b/old/64620-h/images/plt_191.jpg
diff --git a/old/64620-h/images/plt_192.jpg b/old/64620-h/images/plt_192.jpg
new file mode 100644
index 0000000..3ac0c71
--- /dev/null
+++ b/old/64620-h/images/plt_192.jpg
diff --git a/old/64620-h/images/plt_193.jpg b/old/64620-h/images/plt_193.jpg
new file mode 100644
index 0000000..059bd8d
--- /dev/null
+++ b/old/64620-h/images/plt_193.jpg
diff --git a/old/64620-h/images/plt_194.jpg b/old/64620-h/images/plt_194.jpg
new file mode 100644
index 0000000..7bcc7ed
--- /dev/null
+++ b/old/64620-h/images/plt_194.jpg
diff --git a/old/64620-h/images/plt_195.jpg b/old/64620-h/images/plt_195.jpg
new file mode 100644
index 0000000..2cc94c4
--- /dev/null
+++ b/old/64620-h/images/plt_195.jpg
diff --git a/old/64620-h/images/plt_196.jpg b/old/64620-h/images/plt_196.jpg
new file mode 100644
index 0000000..77302ac
--- /dev/null
+++ b/old/64620-h/images/plt_196.jpg
diff --git a/old/64620-h/images/plt_197.jpg b/old/64620-h/images/plt_197.jpg
new file mode 100644
index 0000000..8b440ed
--- /dev/null
+++ b/old/64620-h/images/plt_197.jpg
diff --git a/old/64620-h/images/plt_198.jpg b/old/64620-h/images/plt_198.jpg
new file mode 100644
index 0000000..e7c69d3
--- /dev/null
+++ b/old/64620-h/images/plt_198.jpg
diff --git a/old/64620-h/images/plt_199.jpg b/old/64620-h/images/plt_199.jpg
new file mode 100644
index 0000000..6edd9ce
--- /dev/null
+++ b/old/64620-h/images/plt_199.jpg
diff --git a/old/64620-h/images/plt_200.jpg b/old/64620-h/images/plt_200.jpg
new file mode 100644
index 0000000..4aebf1f
--- /dev/null
+++ b/old/64620-h/images/plt_200.jpg
diff --git a/old/64620-h/images/plt_201.jpg b/old/64620-h/images/plt_201.jpg
new file mode 100644
index 0000000..c43ffe0
--- /dev/null
+++ b/old/64620-h/images/plt_201.jpg
diff --git a/old/64620-h/images/plt_202.jpg b/old/64620-h/images/plt_202.jpg
new file mode 100644
index 0000000..b934adb
--- /dev/null
+++ b/old/64620-h/images/plt_202.jpg
diff --git a/old/64620-h/images/plt_203.jpg b/old/64620-h/images/plt_203.jpg
new file mode 100644
index 0000000..6647d82
--- /dev/null
+++ b/old/64620-h/images/plt_203.jpg
diff --git a/old/64620-h/images/plt_204.jpg b/old/64620-h/images/plt_204.jpg
new file mode 100644
index 0000000..fd92f39
--- /dev/null
+++ b/old/64620-h/images/plt_204.jpg
diff --git a/old/64620-h/images/plt_205.jpg b/old/64620-h/images/plt_205.jpg
new file mode 100644
index 0000000..f350a24
--- /dev/null
+++ b/old/64620-h/images/plt_205.jpg
diff --git a/old/64620-h/images/plt_206.jpg b/old/64620-h/images/plt_206.jpg
new file mode 100644
index 0000000..0460379
--- /dev/null
+++ b/old/64620-h/images/plt_206.jpg
diff --git a/old/64620-h/images/plt_207.jpg b/old/64620-h/images/plt_207.jpg
new file mode 100644
index 0000000..e60c701
--- /dev/null
+++ b/old/64620-h/images/plt_207.jpg
diff --git a/old/64620-h/images/plt_208.jpg b/old/64620-h/images/plt_208.jpg
new file mode 100644
index 0000000..86a3b12
--- /dev/null
+++ b/old/64620-h/images/plt_208.jpg
diff --git a/old/64620-h/images/plt_209.jpg b/old/64620-h/images/plt_209.jpg
new file mode 100644
index 0000000..3a65602
--- /dev/null
+++ b/old/64620-h/images/plt_209.jpg
diff --git a/old/64620-h/images/plt_210.jpg b/old/64620-h/images/plt_210.jpg
new file mode 100644
index 0000000..6ddcb70
--- /dev/null
+++ b/old/64620-h/images/plt_210.jpg
diff --git a/old/64620-h/images/plt_211.jpg b/old/64620-h/images/plt_211.jpg
new file mode 100644
index 0000000..f875d20
--- /dev/null
+++ b/old/64620-h/images/plt_211.jpg
diff --git a/old/64620-h/images/plt_212.jpg b/old/64620-h/images/plt_212.jpg
new file mode 100644
index 0000000..52440f1
--- /dev/null
+++ b/old/64620-h/images/plt_212.jpg
diff --git a/old/64620-h/images/plt_213.jpg b/old/64620-h/images/plt_213.jpg
new file mode 100644
index 0000000..733c942
--- /dev/null
+++ b/old/64620-h/images/plt_213.jpg
diff --git a/old/64620-h/images/plt_214.jpg b/old/64620-h/images/plt_214.jpg
new file mode 100644
index 0000000..f85a4ac
--- /dev/null
+++ b/old/64620-h/images/plt_214.jpg
diff --git a/old/64620-h/images/plt_215.jpg b/old/64620-h/images/plt_215.jpg
new file mode 100644
index 0000000..7d9cd13
--- /dev/null
+++ b/old/64620-h/images/plt_215.jpg
diff --git a/old/64620-h/images/plt_216.jpg b/old/64620-h/images/plt_216.jpg
new file mode 100644
index 0000000..a1236a9
--- /dev/null
+++ b/old/64620-h/images/plt_216.jpg
diff --git a/old/64620-h/images/plt_217.jpg b/old/64620-h/images/plt_217.jpg
new file mode 100644
index 0000000..3e5add5
--- /dev/null
+++ b/old/64620-h/images/plt_217.jpg
diff --git a/old/64620-h/images/plt_218.jpg b/old/64620-h/images/plt_218.jpg
new file mode 100644
index 0000000..5d30243
--- /dev/null
+++ b/old/64620-h/images/plt_218.jpg
diff --git a/old/64620-h/images/plt_219.jpg b/old/64620-h/images/plt_219.jpg
new file mode 100644
index 0000000..7fd6f07
--- /dev/null
+++ b/old/64620-h/images/plt_219.jpg
diff --git a/old/64620-h/images/plt_220.jpg b/old/64620-h/images/plt_220.jpg
new file mode 100644
index 0000000..79df911
--- /dev/null
+++ b/old/64620-h/images/plt_220.jpg
diff --git a/old/64620-h/images/plt_221.jpg b/old/64620-h/images/plt_221.jpg
new file mode 100644
index 0000000..73f4435
--- /dev/null
+++ b/old/64620-h/images/plt_221.jpg
diff --git a/old/64620-h/images/plt_222.jpg b/old/64620-h/images/plt_222.jpg
new file mode 100644
index 0000000..d1718c9
--- /dev/null
+++ b/old/64620-h/images/plt_222.jpg
diff --git a/old/64620-h/images/plt_223.jpg b/old/64620-h/images/plt_223.jpg
new file mode 100644
index 0000000..da73de0
--- /dev/null
+++ b/old/64620-h/images/plt_223.jpg
diff --git a/old/64620-h/images/plt_224.jpg b/old/64620-h/images/plt_224.jpg
new file mode 100644
index 0000000..c0b6f4c
--- /dev/null
+++ b/old/64620-h/images/plt_224.jpg
diff --git a/old/64620-h/images/plt_225.jpg b/old/64620-h/images/plt_225.jpg
new file mode 100644
index 0000000..4a750ca
--- /dev/null
+++ b/old/64620-h/images/plt_225.jpg
diff --git a/old/64620-h/images/plt_226.jpg b/old/64620-h/images/plt_226.jpg
new file mode 100644
index 0000000..201770a
--- /dev/null
+++ b/old/64620-h/images/plt_226.jpg
diff --git a/old/64620-h/images/plt_227.jpg b/old/64620-h/images/plt_227.jpg
new file mode 100644
index 0000000..819a3e4
--- /dev/null
+++ b/old/64620-h/images/plt_227.jpg
diff --git a/old/64620-h/images/plt_228.jpg b/old/64620-h/images/plt_228.jpg
new file mode 100644
index 0000000..7fcd82a
--- /dev/null
+++ b/old/64620-h/images/plt_228.jpg
diff --git a/old/64620-h/images/plt_229.jpg b/old/64620-h/images/plt_229.jpg
new file mode 100644
index 0000000..3a313e1
--- /dev/null
+++ b/old/64620-h/images/plt_229.jpg
diff --git a/old/64620-h/images/plt_230.jpg b/old/64620-h/images/plt_230.jpg
new file mode 100644
index 0000000..da4a4bb
--- /dev/null
+++ b/old/64620-h/images/plt_230.jpg
diff --git a/old/64620-h/images/plt_231.jpg b/old/64620-h/images/plt_231.jpg
new file mode 100644
index 0000000..ba28521
--- /dev/null
+++ b/old/64620-h/images/plt_231.jpg
diff --git a/old/64620-h/images/plt_232.jpg b/old/64620-h/images/plt_232.jpg
new file mode 100644
index 0000000..bc1c25e
--- /dev/null
+++ b/old/64620-h/images/plt_232.jpg
diff --git a/old/64620-h/images/plt_233.jpg b/old/64620-h/images/plt_233.jpg
new file mode 100644
index 0000000..d170d17
--- /dev/null
+++ b/old/64620-h/images/plt_233.jpg
diff --git a/old/64620-h/images/plt_234.jpg b/old/64620-h/images/plt_234.jpg
new file mode 100644
index 0000000..25fc9a6
--- /dev/null
+++ b/old/64620-h/images/plt_234.jpg
diff --git a/old/64620-h/images/plt_235.jpg b/old/64620-h/images/plt_235.jpg
new file mode 100644
index 0000000..91a89bc
--- /dev/null
+++ b/old/64620-h/images/plt_235.jpg
diff --git a/old/64620-h/images/plt_236.jpg b/old/64620-h/images/plt_236.jpg
new file mode 100644
index 0000000..1a2c84b
--- /dev/null
+++ b/old/64620-h/images/plt_236.jpg
diff --git a/old/64620-h/images/plt_237.jpg b/old/64620-h/images/plt_237.jpg
new file mode 100644
index 0000000..960d2f5
--- /dev/null
+++ b/old/64620-h/images/plt_237.jpg
diff --git a/old/64620-h/images/plt_238.jpg b/old/64620-h/images/plt_238.jpg
new file mode 100644
index 0000000..dac3a27
--- /dev/null
+++ b/old/64620-h/images/plt_238.jpg
diff --git a/old/64620-h/images/plt_239.jpg b/old/64620-h/images/plt_239.jpg
new file mode 100644
index 0000000..f5efc31
--- /dev/null
+++ b/old/64620-h/images/plt_239.jpg
diff --git a/old/64620-h/images/plt_240.jpg b/old/64620-h/images/plt_240.jpg
new file mode 100644
index 0000000..6c7db29
--- /dev/null
+++ b/old/64620-h/images/plt_240.jpg
diff --git a/old/64620-h/images/plt_241-a.jpg b/old/64620-h/images/plt_241-a.jpg
new file mode 100644
index 0000000..c8e821e
--- /dev/null
+++ b/old/64620-h/images/plt_241-a.jpg
diff --git a/old/64620-h/images/plt_241-b.jpg b/old/64620-h/images/plt_241-b.jpg
new file mode 100644
index 0000000..4991e7e
--- /dev/null
+++ b/old/64620-h/images/plt_241-b.jpg
diff --git a/old/64620-h/images/plt_242.jpg b/old/64620-h/images/plt_242.jpg
new file mode 100644
index 0000000..bd771cf
--- /dev/null
+++ b/old/64620-h/images/plt_242.jpg
diff --git a/old/64620-h/images/plt_243.jpg b/old/64620-h/images/plt_243.jpg
new file mode 100644
index 0000000..f9609cc
--- /dev/null
+++ b/old/64620-h/images/plt_243.jpg
diff --git a/old/64620-h/images/plt_244.jpg b/old/64620-h/images/plt_244.jpg
new file mode 100644
index 0000000..227b3ef
--- /dev/null
+++ b/old/64620-h/images/plt_244.jpg
diff --git a/old/64620-h/images/plt_245.jpg b/old/64620-h/images/plt_245.jpg
new file mode 100644
index 0000000..555793d
--- /dev/null
+++ b/old/64620-h/images/plt_245.jpg
diff --git a/old/64620-h/images/plt_246.jpg b/old/64620-h/images/plt_246.jpg
new file mode 100644
index 0000000..5cdd47a
--- /dev/null
+++ b/old/64620-h/images/plt_246.jpg
diff --git a/old/64620-h/images/plt_247.jpg b/old/64620-h/images/plt_247.jpg
new file mode 100644
index 0000000..2ff4d10
--- /dev/null
+++ b/old/64620-h/images/plt_247.jpg
diff --git a/old/64620-h/images/plt_248.jpg b/old/64620-h/images/plt_248.jpg
new file mode 100644
index 0000000..c4369d8
--- /dev/null
+++ b/old/64620-h/images/plt_248.jpg
diff --git a/old/64620-h/images/plt_249-a.jpg b/old/64620-h/images/plt_249-a.jpg
new file mode 100644
index 0000000..dd20c2f
--- /dev/null
+++ b/old/64620-h/images/plt_249-a.jpg
diff --git a/old/64620-h/images/plt_249-b.jpg b/old/64620-h/images/plt_249-b.jpg
new file mode 100644
index 0000000..fa36d29
--- /dev/null
+++ b/old/64620-h/images/plt_249-b.jpg
diff --git a/old/64620-h/images/plt_250.jpg b/old/64620-h/images/plt_250.jpg
new file mode 100644
index 0000000..4c6a151
--- /dev/null
+++ b/old/64620-h/images/plt_250.jpg
diff --git a/old/64620-h/images/plt_251.jpg b/old/64620-h/images/plt_251.jpg
new file mode 100644
index 0000000..81556a6
--- /dev/null
+++ b/old/64620-h/images/plt_251.jpg
diff --git a/old/64620-h/images/plt_252.jpg b/old/64620-h/images/plt_252.jpg
new file mode 100644
index 0000000..6f980cb
--- /dev/null
+++ b/old/64620-h/images/plt_252.jpg
diff --git a/old/64620-h/images/plt_253.jpg b/old/64620-h/images/plt_253.jpg
new file mode 100644
index 0000000..02e72fb
--- /dev/null
+++ b/old/64620-h/images/plt_253.jpg
diff --git a/old/64620-h/images/plt_254.jpg b/old/64620-h/images/plt_254.jpg
new file mode 100644
index 0000000..f455408
--- /dev/null
+++ b/old/64620-h/images/plt_254.jpg
diff --git a/old/64620-h/images/plt_255.jpg b/old/64620-h/images/plt_255.jpg
new file mode 100644
index 0000000..396f986
--- /dev/null
+++ b/old/64620-h/images/plt_255.jpg
diff --git a/old/64620-h/images/plt_256.jpg b/old/64620-h/images/plt_256.jpg
new file mode 100644
index 0000000..5dafa0d
--- /dev/null
+++ b/old/64620-h/images/plt_256.jpg
diff --git a/old/64620-h/images/plt_257.jpg b/old/64620-h/images/plt_257.jpg
new file mode 100644
index 0000000..6fa84d3
--- /dev/null
+++ b/old/64620-h/images/plt_257.jpg
diff --git a/old/64620-h/images/plt_258.jpg b/old/64620-h/images/plt_258.jpg
new file mode 100644
index 0000000..315b146
--- /dev/null
+++ b/old/64620-h/images/plt_258.jpg
diff --git a/old/64620-h/images/plt_259.jpg b/old/64620-h/images/plt_259.jpg
new file mode 100644
index 0000000..60c9438
--- /dev/null
+++ b/old/64620-h/images/plt_259.jpg
diff --git a/old/64620-h/images/plt_260.jpg b/old/64620-h/images/plt_260.jpg
new file mode 100644
index 0000000..e6094c4
--- /dev/null
+++ b/old/64620-h/images/plt_260.jpg
diff --git a/old/64620-h/images/plt_261.jpg b/old/64620-h/images/plt_261.jpg
new file mode 100644
index 0000000..2faa7c4
--- /dev/null
+++ b/old/64620-h/images/plt_261.jpg
diff --git a/old/64620-h/images/plt_262.jpg b/old/64620-h/images/plt_262.jpg
new file mode 100644
index 0000000..bd9f038
--- /dev/null
+++ b/old/64620-h/images/plt_262.jpg
diff --git a/old/64620-h/images/plt_263.jpg b/old/64620-h/images/plt_263.jpg
new file mode 100644
index 0000000..e6680b9
--- /dev/null
+++ b/old/64620-h/images/plt_263.jpg
diff --git a/old/64620-h/images/plt_264.jpg b/old/64620-h/images/plt_264.jpg
new file mode 100644
index 0000000..8fb5cf8
--- /dev/null
+++ b/old/64620-h/images/plt_264.jpg
diff --git a/old/64620-h/images/plt_265.jpg b/old/64620-h/images/plt_265.jpg
new file mode 100644
index 0000000..b51a440
--- /dev/null
+++ b/old/64620-h/images/plt_265.jpg
diff --git a/old/64620-h/images/plt_266.jpg b/old/64620-h/images/plt_266.jpg
new file mode 100644
index 0000000..cdd1ebf
--- /dev/null
+++ b/old/64620-h/images/plt_266.jpg
diff --git a/old/64620-h/images/plt_267.jpg b/old/64620-h/images/plt_267.jpg
new file mode 100644
index 0000000..3c11248
--- /dev/null
+++ b/old/64620-h/images/plt_267.jpg
diff --git a/old/64620-h/images/plt_268.jpg b/old/64620-h/images/plt_268.jpg
new file mode 100644
index 0000000..4394058
--- /dev/null
+++ b/old/64620-h/images/plt_268.jpg
diff --git a/old/64620-h/images/plt_269.jpg b/old/64620-h/images/plt_269.jpg
new file mode 100644
index 0000000..b10bdff
--- /dev/null
+++ b/old/64620-h/images/plt_269.jpg
diff --git a/old/64620-h/images/plt_270.jpg b/old/64620-h/images/plt_270.jpg
new file mode 100644
index 0000000..1313572
--- /dev/null
+++ b/old/64620-h/images/plt_270.jpg
diff --git a/old/64620-h/images/plt_271.jpg b/old/64620-h/images/plt_271.jpg
new file mode 100644
index 0000000..856bbd2
--- /dev/null
+++ b/old/64620-h/images/plt_271.jpg
diff --git a/old/64620-h/images/plt_272.jpg b/old/64620-h/images/plt_272.jpg
new file mode 100644
index 0000000..ca2c967
--- /dev/null
+++ b/old/64620-h/images/plt_272.jpg
diff --git a/old/64620-h/images/plt_273.jpg b/old/64620-h/images/plt_273.jpg
new file mode 100644
index 0000000..80d03ac
--- /dev/null
+++ b/old/64620-h/images/plt_273.jpg
diff --git a/old/64620-h/images/plt_274.jpg b/old/64620-h/images/plt_274.jpg
new file mode 100644
index 0000000..b468512
--- /dev/null
+++ b/old/64620-h/images/plt_274.jpg
diff --git a/old/64620-h/images/plt_275.jpg b/old/64620-h/images/plt_275.jpg
new file mode 100644
index 0000000..99faadc
--- /dev/null
+++ b/old/64620-h/images/plt_275.jpg
diff --git a/old/64620-h/images/plt_276.jpg b/old/64620-h/images/plt_276.jpg
new file mode 100644
index 0000000..fdae8cc
--- /dev/null
+++ b/old/64620-h/images/plt_276.jpg
diff --git a/old/64620-h/images/plt_277.jpg b/old/64620-h/images/plt_277.jpg
new file mode 100644
index 0000000..feb7767
--- /dev/null
+++ b/old/64620-h/images/plt_277.jpg
diff --git a/old/64620-h/images/plt_278.jpg b/old/64620-h/images/plt_278.jpg
new file mode 100644
index 0000000..e43ffec
--- /dev/null
+++ b/old/64620-h/images/plt_278.jpg
diff --git a/old/64620-h/images/plt_279.jpg b/old/64620-h/images/plt_279.jpg
new file mode 100644
index 0000000..2349f6c
--- /dev/null
+++ b/old/64620-h/images/plt_279.jpg
diff --git a/old/64620-h/images/plt_280.jpg b/old/64620-h/images/plt_280.jpg
new file mode 100644
index 0000000..dbdee5a
--- /dev/null
+++ b/old/64620-h/images/plt_280.jpg
diff --git a/old/64620-h/images/plt_281.jpg b/old/64620-h/images/plt_281.jpg
new file mode 100644
index 0000000..ee4dca7
--- /dev/null
+++ b/old/64620-h/images/plt_281.jpg
diff --git a/old/64620-h/images/plt_282.jpg b/old/64620-h/images/plt_282.jpg
new file mode 100644
index 0000000..8689e81
--- /dev/null
+++ b/old/64620-h/images/plt_282.jpg
diff --git a/old/64620-h/images/plt_283.jpg b/old/64620-h/images/plt_283.jpg
new file mode 100644
index 0000000..884b903
--- /dev/null
+++ b/old/64620-h/images/plt_283.jpg
diff --git a/old/64620-h/images/plt_284.jpg b/old/64620-h/images/plt_284.jpg
new file mode 100644
index 0000000..1526573
--- /dev/null
+++ b/old/64620-h/images/plt_284.jpg
diff --git a/old/64620-h/images/plt_285.jpg b/old/64620-h/images/plt_285.jpg
new file mode 100644
index 0000000..8351541
--- /dev/null
+++ b/old/64620-h/images/plt_285.jpg
diff --git a/old/64620-h/images/plt_286.jpg b/old/64620-h/images/plt_286.jpg
new file mode 100644
index 0000000..3062b7d
--- /dev/null
+++ b/old/64620-h/images/plt_286.jpg
diff --git a/old/64620-h/images/plt_287.jpg b/old/64620-h/images/plt_287.jpg
new file mode 100644
index 0000000..67cdb42
--- /dev/null
+++ b/old/64620-h/images/plt_287.jpg
diff --git a/old/64620-h/images/plt_288.jpg b/old/64620-h/images/plt_288.jpg
new file mode 100644
index 0000000..325161c
--- /dev/null
+++ b/old/64620-h/images/plt_288.jpg
diff --git a/old/64620-h/images/plt_289.jpg b/old/64620-h/images/plt_289.jpg
new file mode 100644
index 0000000..117324e
--- /dev/null
+++ b/old/64620-h/images/plt_289.jpg
diff --git a/old/64620-h/images/plt_290-a.jpg b/old/64620-h/images/plt_290-a.jpg
new file mode 100644
index 0000000..b8dd20e
--- /dev/null
+++ b/old/64620-h/images/plt_290-a.jpg
diff --git a/old/64620-h/images/plt_290-b.jpg b/old/64620-h/images/plt_290-b.jpg
new file mode 100644
index 0000000..e476cdd
--- /dev/null
+++ b/old/64620-h/images/plt_290-b.jpg
diff --git a/old/64620-h/images/plt_291-a.jpg b/old/64620-h/images/plt_291-a.jpg
new file mode 100644
index 0000000..0dd554a
--- /dev/null
+++ b/old/64620-h/images/plt_291-a.jpg
diff --git a/old/64620-h/images/plt_291-b.jpg b/old/64620-h/images/plt_291-b.jpg
new file mode 100644
index 0000000..a355565
--- /dev/null
+++ b/old/64620-h/images/plt_291-b.jpg
diff --git a/old/64620-h/images/plt_292.jpg b/old/64620-h/images/plt_292.jpg
new file mode 100644
index 0000000..b8128db
--- /dev/null
+++ b/old/64620-h/images/plt_292.jpg
diff --git a/old/64620-h/images/plt_293.jpg b/old/64620-h/images/plt_293.jpg
new file mode 100644
index 0000000..0f6e6a7
--- /dev/null
+++ b/old/64620-h/images/plt_293.jpg
diff --git a/old/64620-h/images/plt_294.jpg b/old/64620-h/images/plt_294.jpg
new file mode 100644
index 0000000..54695ae
--- /dev/null
+++ b/old/64620-h/images/plt_294.jpg
diff --git a/old/64620-h/images/plt_295.jpg b/old/64620-h/images/plt_295.jpg
new file mode 100644
index 0000000..77bb38c
--- /dev/null
+++ b/old/64620-h/images/plt_295.jpg
diff --git a/old/64620-h/images/plt_296.jpg b/old/64620-h/images/plt_296.jpg
new file mode 100644
index 0000000..0e7132e
--- /dev/null
+++ b/old/64620-h/images/plt_296.jpg
diff --git a/old/64620-h/images/plt_297.jpg b/old/64620-h/images/plt_297.jpg
new file mode 100644
index 0000000..e698382
--- /dev/null
+++ b/old/64620-h/images/plt_297.jpg
diff --git a/old/64620-h/images/plt_298.jpg b/old/64620-h/images/plt_298.jpg
new file mode 100644
index 0000000..b82d582
--- /dev/null
+++ b/old/64620-h/images/plt_298.jpg
diff --git a/old/64620-h/images/plt_299.jpg b/old/64620-h/images/plt_299.jpg
new file mode 100644
index 0000000..1963ae3
--- /dev/null
+++ b/old/64620-h/images/plt_299.jpg
diff --git a/old/64620-h/images/plt_300.jpg b/old/64620-h/images/plt_300.jpg
new file mode 100644
index 0000000..4fd79e3
--- /dev/null
+++ b/old/64620-h/images/plt_300.jpg
diff --git a/old/64620-h/images/plt_301.jpg b/old/64620-h/images/plt_301.jpg
new file mode 100644
index 0000000..e8b8fce
--- /dev/null
+++ b/old/64620-h/images/plt_301.jpg
diff --git a/old/64620-h/images/plt_302-a.jpg b/old/64620-h/images/plt_302-a.jpg
new file mode 100644
index 0000000..1fd0c27
--- /dev/null
+++ b/old/64620-h/images/plt_302-a.jpg
diff --git a/old/64620-h/images/plt_302-b.jpg b/old/64620-h/images/plt_302-b.jpg
new file mode 100644
index 0000000..073ef59
--- /dev/null
+++ b/old/64620-h/images/plt_302-b.jpg
diff --git a/old/64620-h/images/plt_303.jpg b/old/64620-h/images/plt_303.jpg
new file mode 100644
index 0000000..d8d465d
--- /dev/null
+++ b/old/64620-h/images/plt_303.jpg
diff --git a/old/64620-h/images/plt_304.jpg b/old/64620-h/images/plt_304.jpg
new file mode 100644
index 0000000..46e6737
--- /dev/null
+++ b/old/64620-h/images/plt_304.jpg
diff --git a/old/64620-h/images/plt_305.jpg b/old/64620-h/images/plt_305.jpg
new file mode 100644
index 0000000..ea04857
--- /dev/null
+++ b/old/64620-h/images/plt_305.jpg
diff --git a/old/64620-h/images/plt_306.jpg b/old/64620-h/images/plt_306.jpg
new file mode 100644
index 0000000..b8dbdda
--- /dev/null
+++ b/old/64620-h/images/plt_306.jpg
diff --git a/old/64620-h/images/plt_307.jpg b/old/64620-h/images/plt_307.jpg
new file mode 100644
index 0000000..78d6a8a
--- /dev/null
+++ b/old/64620-h/images/plt_307.jpg
diff --git a/old/64620-h/images/plt_308.jpg b/old/64620-h/images/plt_308.jpg
new file mode 100644
index 0000000..76b7fef
--- /dev/null
+++ b/old/64620-h/images/plt_308.jpg
diff --git a/old/64620-h/images/plt_309.jpg b/old/64620-h/images/plt_309.jpg
new file mode 100644
index 0000000..97c0cd9
--- /dev/null
+++ b/old/64620-h/images/plt_309.jpg
diff --git a/old/64620-h/images/plt_310.jpg b/old/64620-h/images/plt_310.jpg
new file mode 100644
index 0000000..e3b876e
--- /dev/null
+++ b/old/64620-h/images/plt_310.jpg
diff --git a/old/64620-h/images/plt_311.jpg b/old/64620-h/images/plt_311.jpg
new file mode 100644
index 0000000..8c7a983
--- /dev/null
+++ b/old/64620-h/images/plt_311.jpg
diff --git a/old/64620-h/images/plt_312.jpg b/old/64620-h/images/plt_312.jpg
new file mode 100644
index 0000000..64ecec2
--- /dev/null
+++ b/old/64620-h/images/plt_312.jpg
diff --git a/old/64620-h/images/plt_313.jpg b/old/64620-h/images/plt_313.jpg
new file mode 100644
index 0000000..69b244b
--- /dev/null
+++ b/old/64620-h/images/plt_313.jpg
diff --git a/old/64620-h/images/plt_314.jpg b/old/64620-h/images/plt_314.jpg
new file mode 100644
index 0000000..1977ebe
--- /dev/null
+++ b/old/64620-h/images/plt_314.jpg
diff --git a/old/64620-h/images/plt_315.jpg b/old/64620-h/images/plt_315.jpg
new file mode 100644
index 0000000..c841e31
--- /dev/null
+++ b/old/64620-h/images/plt_315.jpg
diff --git a/old/64620-h/images/plt_316.jpg b/old/64620-h/images/plt_316.jpg
new file mode 100644
index 0000000..840f77b
--- /dev/null
+++ b/old/64620-h/images/plt_316.jpg
diff --git a/old/64620-h/images/plt_317.jpg b/old/64620-h/images/plt_317.jpg
new file mode 100644
index 0000000..a754c8c
--- /dev/null
+++ b/old/64620-h/images/plt_317.jpg
diff --git a/old/64620-h/images/plt_318.jpg b/old/64620-h/images/plt_318.jpg
new file mode 100644
index 0000000..362dd09
--- /dev/null
+++ b/old/64620-h/images/plt_318.jpg
diff --git a/old/64620-h/images/plt_319.jpg b/old/64620-h/images/plt_319.jpg
new file mode 100644
index 0000000..ccd9878
--- /dev/null
+++ b/old/64620-h/images/plt_319.jpg
diff --git a/old/64620-h/images/plt_320.jpg b/old/64620-h/images/plt_320.jpg
new file mode 100644
index 0000000..29db356
--- /dev/null
+++ b/old/64620-h/images/plt_320.jpg
diff --git a/old/64620-h/images/plt_321.jpg b/old/64620-h/images/plt_321.jpg
new file mode 100644
index 0000000..225cb05
--- /dev/null
+++ b/old/64620-h/images/plt_321.jpg
diff --git a/old/64620-h/images/plt_322.jpg b/old/64620-h/images/plt_322.jpg
new file mode 100644
index 0000000..05f8b0d
--- /dev/null
+++ b/old/64620-h/images/plt_322.jpg
diff --git a/old/64620-h/images/plt_323.jpg b/old/64620-h/images/plt_323.jpg
new file mode 100644
index 0000000..bef691e
--- /dev/null
+++ b/old/64620-h/images/plt_323.jpg
diff --git a/old/64620-h/images/plt_324.jpg b/old/64620-h/images/plt_324.jpg
new file mode 100644
index 0000000..105aec8
--- /dev/null
+++ b/old/64620-h/images/plt_324.jpg
diff --git a/old/64620-h/images/plt_325.jpg b/old/64620-h/images/plt_325.jpg
new file mode 100644
index 0000000..4a755ef
--- /dev/null
+++ b/old/64620-h/images/plt_325.jpg
diff --git a/old/64620-h/images/plt_326.jpg b/old/64620-h/images/plt_326.jpg
new file mode 100644
index 0000000..ff024d8
--- /dev/null
+++ b/old/64620-h/images/plt_326.jpg
diff --git a/old/64620-h/images/plt_327.jpg b/old/64620-h/images/plt_327.jpg
new file mode 100644
index 0000000..fc4f623
--- /dev/null
+++ b/old/64620-h/images/plt_327.jpg
diff --git a/old/64620-h/images/plt_328.jpg b/old/64620-h/images/plt_328.jpg
new file mode 100644
index 0000000..f8c821c
--- /dev/null
+++ b/old/64620-h/images/plt_328.jpg
diff --git a/old/64620-h/images/plt_329.jpg b/old/64620-h/images/plt_329.jpg
new file mode 100644
index 0000000..b4e7fa4
--- /dev/null
+++ b/old/64620-h/images/plt_329.jpg
diff --git a/old/64620-h/images/plt_330.jpg b/old/64620-h/images/plt_330.jpg
new file mode 100644
index 0000000..d210e39
--- /dev/null
+++ b/old/64620-h/images/plt_330.jpg
diff --git a/old/64620-h/images/plt_331.jpg b/old/64620-h/images/plt_331.jpg
new file mode 100644
index 0000000..decb920
--- /dev/null
+++ b/old/64620-h/images/plt_331.jpg
diff --git a/old/64620-h/images/plt_332.jpg b/old/64620-h/images/plt_332.jpg
new file mode 100644
index 0000000..f52c2c4
--- /dev/null
+++ b/old/64620-h/images/plt_332.jpg
diff --git a/old/64620-h/images/plt_333.jpg b/old/64620-h/images/plt_333.jpg
new file mode 100644
index 0000000..ee583e2
--- /dev/null
+++ b/old/64620-h/images/plt_333.jpg
diff --git a/old/64620-h/images/plt_334.jpg b/old/64620-h/images/plt_334.jpg
new file mode 100644
index 0000000..5b9ca3d
--- /dev/null
+++ b/old/64620-h/images/plt_334.jpg
diff --git a/old/64620-h/images/plt_335.jpg b/old/64620-h/images/plt_335.jpg
new file mode 100644
index 0000000..508c957
--- /dev/null
+++ b/old/64620-h/images/plt_335.jpg
diff --git a/old/64620-h/images/plt_336.jpg b/old/64620-h/images/plt_336.jpg
new file mode 100644
index 0000000..7a684a6
--- /dev/null
+++ b/old/64620-h/images/plt_336.jpg
diff --git a/old/64620-h/images/plt_337.jpg b/old/64620-h/images/plt_337.jpg
new file mode 100644
index 0000000..ce10b80
--- /dev/null
+++ b/old/64620-h/images/plt_337.jpg
diff --git a/old/64620-h/images/plt_338.jpg b/old/64620-h/images/plt_338.jpg
new file mode 100644
index 0000000..a07167d
--- /dev/null
+++ b/old/64620-h/images/plt_338.jpg
diff --git a/old/64620-h/images/plt_339.jpg b/old/64620-h/images/plt_339.jpg
new file mode 100644
index 0000000..f8c882d
--- /dev/null
+++ b/old/64620-h/images/plt_339.jpg
diff --git a/old/64620-h/images/plt_340.jpg b/old/64620-h/images/plt_340.jpg
new file mode 100644
index 0000000..4c7b2c2
--- /dev/null
+++ b/old/64620-h/images/plt_340.jpg
diff --git a/old/64620-h/images/plt_341.jpg b/old/64620-h/images/plt_341.jpg
new file mode 100644
index 0000000..54a54bf
--- /dev/null
+++ b/old/64620-h/images/plt_341.jpg
diff --git a/old/64620-h/images/plt_342.jpg b/old/64620-h/images/plt_342.jpg
new file mode 100644
index 0000000..80908b4
--- /dev/null
+++ b/old/64620-h/images/plt_342.jpg
diff --git a/old/64620-h/images/plt_343.jpg b/old/64620-h/images/plt_343.jpg
new file mode 100644
index 0000000..49b1b17
--- /dev/null
+++ b/old/64620-h/images/plt_343.jpg
diff --git a/old/64620-h/images/plt_344.jpg b/old/64620-h/images/plt_344.jpg
new file mode 100644
index 0000000..25cb7bd
--- /dev/null
+++ b/old/64620-h/images/plt_344.jpg
diff --git a/old/64620-h/images/plt_345.jpg b/old/64620-h/images/plt_345.jpg
new file mode 100644
index 0000000..ebd442a
--- /dev/null
+++ b/old/64620-h/images/plt_345.jpg
diff --git a/old/64620-h/images/plt_346.jpg b/old/64620-h/images/plt_346.jpg
new file mode 100644
index 0000000..9964619
--- /dev/null
+++ b/old/64620-h/images/plt_346.jpg
diff --git a/old/64620-h/images/plt_347.jpg b/old/64620-h/images/plt_347.jpg
new file mode 100644
index 0000000..09eed4c
--- /dev/null
+++ b/old/64620-h/images/plt_347.jpg
diff --git a/old/64620-h/images/plt_348.jpg b/old/64620-h/images/plt_348.jpg
new file mode 100644
index 0000000..6572a78
--- /dev/null
+++ b/old/64620-h/images/plt_348.jpg
diff --git a/old/64620-h/images/plt_349.jpg b/old/64620-h/images/plt_349.jpg
new file mode 100644
index 0000000..9255641
--- /dev/null
+++ b/old/64620-h/images/plt_349.jpg
diff --git a/old/64620-h/images/plt_350.jpg b/old/64620-h/images/plt_350.jpg
new file mode 100644
index 0000000..004ac28
--- /dev/null
+++ b/old/64620-h/images/plt_350.jpg
diff --git a/old/64620-h/images/plt_351.jpg b/old/64620-h/images/plt_351.jpg
new file mode 100644
index 0000000..ce6137a
--- /dev/null
+++ b/old/64620-h/images/plt_351.jpg
diff --git a/old/64620-h/images/plt_352.jpg b/old/64620-h/images/plt_352.jpg
new file mode 100644
index 0000000..d867979
--- /dev/null
+++ b/old/64620-h/images/plt_352.jpg
diff --git a/old/64620-h/images/plt_353.jpg b/old/64620-h/images/plt_353.jpg
new file mode 100644
index 0000000..d430532
--- /dev/null
+++ b/old/64620-h/images/plt_353.jpg
diff --git a/old/64620-h/images/plt_354.jpg b/old/64620-h/images/plt_354.jpg
new file mode 100644
index 0000000..1dd03b4
--- /dev/null
+++ b/old/64620-h/images/plt_354.jpg
diff --git a/old/64620-h/images/plt_355.jpg b/old/64620-h/images/plt_355.jpg
new file mode 100644
index 0000000..07ce66d
--- /dev/null
+++ b/old/64620-h/images/plt_355.jpg
diff --git a/old/64620-h/images/plt_356.jpg b/old/64620-h/images/plt_356.jpg
new file mode 100644
index 0000000..4f360e5
--- /dev/null
+++ b/old/64620-h/images/plt_356.jpg
diff --git a/old/64620-h/images/plt_357.jpg b/old/64620-h/images/plt_357.jpg
new file mode 100644
index 0000000..6ba90fe
--- /dev/null
+++ b/old/64620-h/images/plt_357.jpg
diff --git a/old/64620-h/images/plt_358.jpg b/old/64620-h/images/plt_358.jpg
new file mode 100644
index 0000000..b2137ce
--- /dev/null
+++ b/old/64620-h/images/plt_358.jpg
diff --git a/old/64620-h/images/plt_359.jpg b/old/64620-h/images/plt_359.jpg
new file mode 100644
index 0000000..5bd9253
--- /dev/null
+++ b/old/64620-h/images/plt_359.jpg
diff --git a/old/64620-h/images/plt_360.jpg b/old/64620-h/images/plt_360.jpg
new file mode 100644
index 0000000..50605fa
--- /dev/null
+++ b/old/64620-h/images/plt_360.jpg
diff --git a/old/64620-h/images/plt_361.jpg b/old/64620-h/images/plt_361.jpg
new file mode 100644
index 0000000..fef6e01
--- /dev/null
+++ b/old/64620-h/images/plt_361.jpg
diff --git a/old/64620-h/images/plt_362.jpg b/old/64620-h/images/plt_362.jpg
new file mode 100644
index 0000000..5939d36
--- /dev/null
+++ b/old/64620-h/images/plt_362.jpg
diff --git a/old/64620-h/images/plt_363.jpg b/old/64620-h/images/plt_363.jpg
new file mode 100644
index 0000000..62dd8ad
--- /dev/null
+++ b/old/64620-h/images/plt_363.jpg
diff --git a/old/64620-h/images/plt_364.jpg b/old/64620-h/images/plt_364.jpg
new file mode 100644
index 0000000..838da37
--- /dev/null
+++ b/old/64620-h/images/plt_364.jpg
diff --git a/old/64620-h/images/plt_365.jpg b/old/64620-h/images/plt_365.jpg
new file mode 100644
index 0000000..efe0ab1
--- /dev/null
+++ b/old/64620-h/images/plt_365.jpg
diff --git a/old/64620-h/images/plt_366.jpg b/old/64620-h/images/plt_366.jpg
new file mode 100644
index 0000000..32b6b5b
--- /dev/null
+++ b/old/64620-h/images/plt_366.jpg
diff --git a/old/64620-h/images/plt_367.jpg b/old/64620-h/images/plt_367.jpg
new file mode 100644
index 0000000..4d01f90
--- /dev/null
+++ b/old/64620-h/images/plt_367.jpg
diff --git a/old/64620-h/images/plt_368.jpg b/old/64620-h/images/plt_368.jpg
new file mode 100644
index 0000000..dab0d55
--- /dev/null
+++ b/old/64620-h/images/plt_368.jpg
diff --git a/old/64620-h/images/plt_369.jpg b/old/64620-h/images/plt_369.jpg
new file mode 100644
index 0000000..7eb3a55
--- /dev/null
+++ b/old/64620-h/images/plt_369.jpg
diff --git a/old/64620-h/images/plt_370.jpg b/old/64620-h/images/plt_370.jpg
new file mode 100644
index 0000000..b7e909c
--- /dev/null
+++ b/old/64620-h/images/plt_370.jpg
diff --git a/old/64620-h/images/plt_371.jpg b/old/64620-h/images/plt_371.jpg
new file mode 100644
index 0000000..22df125
--- /dev/null
+++ b/old/64620-h/images/plt_371.jpg
diff --git a/old/64620-h/images/plt_372.jpg b/old/64620-h/images/plt_372.jpg
new file mode 100644
index 0000000..a41bfc2
--- /dev/null
+++ b/old/64620-h/images/plt_372.jpg
diff --git a/old/64620-h/images/plt_373.jpg b/old/64620-h/images/plt_373.jpg
new file mode 100644
index 0000000..3eaa14c
--- /dev/null
+++ b/old/64620-h/images/plt_373.jpg
diff --git a/old/64620-h/images/plt_374.jpg b/old/64620-h/images/plt_374.jpg
new file mode 100644
index 0000000..9a2535c
--- /dev/null
+++ b/old/64620-h/images/plt_374.jpg
diff --git a/old/64620-h/images/plt_375.jpg b/old/64620-h/images/plt_375.jpg
new file mode 100644
index 0000000..b999419
--- /dev/null
+++ b/old/64620-h/images/plt_375.jpg
diff --git a/old/64620-h/images/plt_376.jpg b/old/64620-h/images/plt_376.jpg
new file mode 100644
index 0000000..6204247
--- /dev/null
+++ b/old/64620-h/images/plt_376.jpg
diff --git a/old/64620-h/images/plt_377.jpg b/old/64620-h/images/plt_377.jpg
new file mode 100644
index 0000000..df5cbf6
--- /dev/null
+++ b/old/64620-h/images/plt_377.jpg
diff --git a/old/64620-h/images/plt_378.jpg b/old/64620-h/images/plt_378.jpg
new file mode 100644
index 0000000..648665f
--- /dev/null
+++ b/old/64620-h/images/plt_378.jpg
diff --git a/old/64620-h/images/plt_379.jpg b/old/64620-h/images/plt_379.jpg
new file mode 100644
index 0000000..48cd2ec
--- /dev/null
+++ b/old/64620-h/images/plt_379.jpg
diff --git a/old/64620-h/images/plt_380.jpg b/old/64620-h/images/plt_380.jpg
new file mode 100644
index 0000000..8a3c69a
--- /dev/null
+++ b/old/64620-h/images/plt_380.jpg
diff --git a/old/64620-h/images/plt_381.jpg b/old/64620-h/images/plt_381.jpg
new file mode 100644
index 0000000..2092574
--- /dev/null
+++ b/old/64620-h/images/plt_381.jpg
diff --git a/old/64620-h/images/plt_382.jpg b/old/64620-h/images/plt_382.jpg
new file mode 100644
index 0000000..80e1d81
--- /dev/null
+++ b/old/64620-h/images/plt_382.jpg
diff --git a/old/64620-h/images/plt_383.jpg b/old/64620-h/images/plt_383.jpg
new file mode 100644
index 0000000..08cdac6
--- /dev/null
+++ b/old/64620-h/images/plt_383.jpg
diff --git a/old/64620-h/images/plt_384.jpg b/old/64620-h/images/plt_384.jpg
new file mode 100644
index 0000000..d24b15e
--- /dev/null
+++ b/old/64620-h/images/plt_384.jpg
diff --git a/old/64620-h/images/plt_385.jpg b/old/64620-h/images/plt_385.jpg
new file mode 100644
index 0000000..82cb3f0
--- /dev/null
+++ b/old/64620-h/images/plt_385.jpg
diff --git a/old/64620-h/images/plt_386.jpg b/old/64620-h/images/plt_386.jpg
new file mode 100644
index 0000000..0459be0
--- /dev/null
+++ b/old/64620-h/images/plt_386.jpg
diff --git a/old/64620-h/images/plt_387.jpg b/old/64620-h/images/plt_387.jpg
new file mode 100644
index 0000000..dce5a6f
--- /dev/null
+++ b/old/64620-h/images/plt_387.jpg
diff --git a/old/64620-h/images/plt_388.jpg b/old/64620-h/images/plt_388.jpg
new file mode 100644
index 0000000..b58dab1
--- /dev/null
+++ b/old/64620-h/images/plt_388.jpg
diff --git a/old/64620-h/images/plt_389.jpg b/old/64620-h/images/plt_389.jpg
new file mode 100644
index 0000000..57c7b0d
--- /dev/null
+++ b/old/64620-h/images/plt_389.jpg
diff --git a/old/64620-h/images/plt_390.jpg b/old/64620-h/images/plt_390.jpg
new file mode 100644
index 0000000..a910af6
--- /dev/null
+++ b/old/64620-h/images/plt_390.jpg
diff --git a/old/64620-h/images/plt_391.jpg b/old/64620-h/images/plt_391.jpg
new file mode 100644
index 0000000..109ac6d
--- /dev/null
+++ b/old/64620-h/images/plt_391.jpg
diff --git a/old/64620-h/images/plt_392.jpg b/old/64620-h/images/plt_392.jpg
new file mode 100644
index 0000000..bb74f23
--- /dev/null
+++ b/old/64620-h/images/plt_392.jpg
diff --git a/old/64620-h/images/plt_393.jpg b/old/64620-h/images/plt_393.jpg
new file mode 100644
index 0000000..c56eace
--- /dev/null
+++ b/old/64620-h/images/plt_393.jpg
diff --git a/old/64620-h/images/plt_394.jpg b/old/64620-h/images/plt_394.jpg
new file mode 100644
index 0000000..30d97eb
--- /dev/null
+++ b/old/64620-h/images/plt_394.jpg
diff --git a/old/64620-h/images/plt_395.jpg b/old/64620-h/images/plt_395.jpg
new file mode 100644
index 0000000..641ac5a
--- /dev/null
+++ b/old/64620-h/images/plt_395.jpg
diff --git a/old/64620-h/images/plt_396.jpg b/old/64620-h/images/plt_396.jpg
new file mode 100644
index 0000000..4131854
--- /dev/null
+++ b/old/64620-h/images/plt_396.jpg
diff --git a/old/64620-h/images/plt_397.jpg b/old/64620-h/images/plt_397.jpg
new file mode 100644
index 0000000..c45d48a
--- /dev/null
+++ b/old/64620-h/images/plt_397.jpg
diff --git a/old/64620-h/images/plt_398.jpg b/old/64620-h/images/plt_398.jpg
new file mode 100644
index 0000000..614cc22
--- /dev/null
+++ b/old/64620-h/images/plt_398.jpg
diff --git a/old/64620-h/images/plt_399.jpg b/old/64620-h/images/plt_399.jpg
new file mode 100644
index 0000000..2f13609
--- /dev/null
+++ b/old/64620-h/images/plt_399.jpg
diff --git a/old/64620-h/images/plt_400.jpg b/old/64620-h/images/plt_400.jpg
new file mode 100644
index 0000000..b38cb1c
--- /dev/null
+++ b/old/64620-h/images/plt_400.jpg
diff --git a/old/64620-h/images/plt_401.jpg b/old/64620-h/images/plt_401.jpg
new file mode 100644
index 0000000..162181f
--- /dev/null
+++ b/old/64620-h/images/plt_401.jpg
diff --git a/old/64620-h/images/plt_402.jpg b/old/64620-h/images/plt_402.jpg
new file mode 100644
index 0000000..a7b5d9d
--- /dev/null
+++ b/old/64620-h/images/plt_402.jpg
diff --git a/old/64620-h/images/plt_403.jpg b/old/64620-h/images/plt_403.jpg
new file mode 100644
index 0000000..46a7e75
--- /dev/null
+++ b/old/64620-h/images/plt_403.jpg
diff --git a/old/64620-h/images/plt_404.jpg b/old/64620-h/images/plt_404.jpg
new file mode 100644
index 0000000..f8ee653
--- /dev/null
+++ b/old/64620-h/images/plt_404.jpg
diff --git a/old/64620-h/images/plt_405.jpg b/old/64620-h/images/plt_405.jpg
new file mode 100644
index 0000000..163eef1
--- /dev/null
+++ b/old/64620-h/images/plt_405.jpg
diff --git a/old/64620-h/images/plt_406.jpg b/old/64620-h/images/plt_406.jpg
new file mode 100644
index 0000000..779a26b
--- /dev/null
+++ b/old/64620-h/images/plt_406.jpg
diff --git a/old/64620-h/images/plt_407.jpg b/old/64620-h/images/plt_407.jpg
new file mode 100644
index 0000000..fb4e9e7
--- /dev/null
+++ b/old/64620-h/images/plt_407.jpg
diff --git a/old/64620-h/images/plt_408.jpg b/old/64620-h/images/plt_408.jpg
new file mode 100644
index 0000000..086bb0e
--- /dev/null
+++ b/old/64620-h/images/plt_408.jpg
diff --git a/old/64620-h/images/plt_409.jpg b/old/64620-h/images/plt_409.jpg
new file mode 100644
index 0000000..eb94525
--- /dev/null
+++ b/old/64620-h/images/plt_409.jpg
diff --git a/old/64620-h/images/plt_410.jpg b/old/64620-h/images/plt_410.jpg
new file mode 100644
index 0000000..84f0d1f
--- /dev/null
+++ b/old/64620-h/images/plt_410.jpg
diff --git a/old/64620-h/images/plt_411.jpg b/old/64620-h/images/plt_411.jpg
new file mode 100644
index 0000000..cf4715e
--- /dev/null
+++ b/old/64620-h/images/plt_411.jpg
diff --git a/old/64620-h/images/plt_412.jpg b/old/64620-h/images/plt_412.jpg
new file mode 100644
index 0000000..8a86ef9
--- /dev/null
+++ b/old/64620-h/images/plt_412.jpg
diff --git a/old/64620-h/images/plt_413.jpg b/old/64620-h/images/plt_413.jpg
new file mode 100644
index 0000000..a524b8b
--- /dev/null
+++ b/old/64620-h/images/plt_413.jpg
diff --git a/old/64620-h/images/plt_414.jpg b/old/64620-h/images/plt_414.jpg
new file mode 100644
index 0000000..834a963
--- /dev/null
+++ b/old/64620-h/images/plt_414.jpg
diff --git a/old/64620-h/images/plt_415.jpg b/old/64620-h/images/plt_415.jpg
new file mode 100644
index 0000000..34c5e3c
--- /dev/null
+++ b/old/64620-h/images/plt_415.jpg
diff --git a/old/64620-h/images/plt_416.jpg b/old/64620-h/images/plt_416.jpg
new file mode 100644
index 0000000..6866085
--- /dev/null
+++ b/old/64620-h/images/plt_416.jpg
diff --git a/old/64620-h/images/plt_417.jpg b/old/64620-h/images/plt_417.jpg
new file mode 100644
index 0000000..458c410
--- /dev/null
+++ b/old/64620-h/images/plt_417.jpg
diff --git a/old/64620-h/images/plt_418.jpg b/old/64620-h/images/plt_418.jpg
new file mode 100644
index 0000000..d6777c7
--- /dev/null
+++ b/old/64620-h/images/plt_418.jpg
diff --git a/old/64620-h/images/plt_419.jpg b/old/64620-h/images/plt_419.jpg
new file mode 100644
index 0000000..87abf8f
--- /dev/null
+++ b/old/64620-h/images/plt_419.jpg
diff --git a/old/64620-h/images/plt_420.jpg b/old/64620-h/images/plt_420.jpg
new file mode 100644
index 0000000..dd6821e
--- /dev/null
+++ b/old/64620-h/images/plt_420.jpg
diff --git a/old/64620-h/images/plt_421.jpg b/old/64620-h/images/plt_421.jpg
new file mode 100644
index 0000000..ebad6ea
--- /dev/null
+++ b/old/64620-h/images/plt_421.jpg
diff --git a/old/64620-h/images/plt_422.jpg b/old/64620-h/images/plt_422.jpg
new file mode 100644
index 0000000..304ebd7
--- /dev/null
+++ b/old/64620-h/images/plt_422.jpg
diff --git a/old/64620-h/images/plt_423.jpg b/old/64620-h/images/plt_423.jpg
new file mode 100644
index 0000000..3a81edd
--- /dev/null
+++ b/old/64620-h/images/plt_423.jpg
diff --git a/old/64620-h/images/plt_424.jpg b/old/64620-h/images/plt_424.jpg
new file mode 100644
index 0000000..589f11f
--- /dev/null
+++ b/old/64620-h/images/plt_424.jpg
diff --git a/old/64620-h/images/plt_425.jpg b/old/64620-h/images/plt_425.jpg
new file mode 100644
index 0000000..4950fde
--- /dev/null
+++ b/old/64620-h/images/plt_425.jpg
diff --git a/old/64620-h/images/plt_426.jpg b/old/64620-h/images/plt_426.jpg
new file mode 100644
index 0000000..0069f9f
--- /dev/null
+++ b/old/64620-h/images/plt_426.jpg
diff --git a/old/64620-h/images/plt_427.jpg b/old/64620-h/images/plt_427.jpg
new file mode 100644
index 0000000..3806b80
--- /dev/null
+++ b/old/64620-h/images/plt_427.jpg
diff --git a/old/64620-h/images/plt_428.jpg b/old/64620-h/images/plt_428.jpg
new file mode 100644
index 0000000..21cf5fa
--- /dev/null
+++ b/old/64620-h/images/plt_428.jpg
diff --git a/old/64620-h/images/plt_429.jpg b/old/64620-h/images/plt_429.jpg
new file mode 100644
index 0000000..22ce1c7
--- /dev/null
+++ b/old/64620-h/images/plt_429.jpg
diff --git a/old/64620-h/images/plt_430.jpg b/old/64620-h/images/plt_430.jpg
new file mode 100644
index 0000000..482a417
--- /dev/null
+++ b/old/64620-h/images/plt_430.jpg
diff --git a/old/64620-h/images/plt_431.jpg b/old/64620-h/images/plt_431.jpg
new file mode 100644
index 0000000..3c43b51
--- /dev/null
+++ b/old/64620-h/images/plt_431.jpg
diff --git a/old/64620-h/images/plt_432.jpg b/old/64620-h/images/plt_432.jpg
new file mode 100644
index 0000000..02a1a4d
--- /dev/null
+++ b/old/64620-h/images/plt_432.jpg
diff --git a/old/64620-h/images/plt_433.jpg b/old/64620-h/images/plt_433.jpg
new file mode 100644
index 0000000..dba70e7
--- /dev/null
+++ b/old/64620-h/images/plt_433.jpg
diff --git a/old/64620-h/images/plt_434.jpg b/old/64620-h/images/plt_434.jpg
new file mode 100644
index 0000000..56b3bcc
--- /dev/null
+++ b/old/64620-h/images/plt_434.jpg
diff --git a/old/64620-h/images/plt_435.jpg b/old/64620-h/images/plt_435.jpg
new file mode 100644
index 0000000..ee24c89
--- /dev/null
+++ b/old/64620-h/images/plt_435.jpg
diff --git a/old/64620-h/images/plt_436.jpg b/old/64620-h/images/plt_436.jpg
new file mode 100644
index 0000000..8763852
--- /dev/null
+++ b/old/64620-h/images/plt_436.jpg
diff --git a/old/64620-h/images/plt_437.jpg b/old/64620-h/images/plt_437.jpg
new file mode 100644
index 0000000..7f5293b
--- /dev/null
+++ b/old/64620-h/images/plt_437.jpg
diff --git a/old/64620-h/images/plt_438.jpg b/old/64620-h/images/plt_438.jpg
new file mode 100644
index 0000000..c1fb713
--- /dev/null
+++ b/old/64620-h/images/plt_438.jpg
diff --git a/old/64620-h/images/plt_439.jpg b/old/64620-h/images/plt_439.jpg
new file mode 100644
index 0000000..ea8999f
--- /dev/null
+++ b/old/64620-h/images/plt_439.jpg
diff --git a/old/64620-h/images/plt_440.jpg b/old/64620-h/images/plt_440.jpg
new file mode 100644
index 0000000..2dad91f
--- /dev/null
+++ b/old/64620-h/images/plt_440.jpg
diff --git a/old/64620-h/images/plt_441.jpg b/old/64620-h/images/plt_441.jpg
new file mode 100644
index 0000000..0ac23c4
--- /dev/null
+++ b/old/64620-h/images/plt_441.jpg
diff --git a/old/64620-h/images/plt_442.jpg b/old/64620-h/images/plt_442.jpg
new file mode 100644
index 0000000..3e8dd3e
--- /dev/null
+++ b/old/64620-h/images/plt_442.jpg
diff --git a/old/64620-h/images/plt_443.jpg b/old/64620-h/images/plt_443.jpg
new file mode 100644
index 0000000..300a17f
--- /dev/null
+++ b/old/64620-h/images/plt_443.jpg
diff --git a/old/64620-h/images/plt_444.jpg b/old/64620-h/images/plt_444.jpg
new file mode 100644
index 0000000..411883c
--- /dev/null
+++ b/old/64620-h/images/plt_444.jpg
diff --git a/old/64620-h/images/plt_445.jpg b/old/64620-h/images/plt_445.jpg
new file mode 100644
index 0000000..cca5837
--- /dev/null
+++ b/old/64620-h/images/plt_445.jpg
diff --git a/old/64620-h/images/plt_446.jpg b/old/64620-h/images/plt_446.jpg
new file mode 100644
index 0000000..a21063e
--- /dev/null
+++ b/old/64620-h/images/plt_446.jpg
diff --git a/old/64620-h/images/plt_447.jpg b/old/64620-h/images/plt_447.jpg
new file mode 100644
index 0000000..729148a
--- /dev/null
+++ b/old/64620-h/images/plt_447.jpg
diff --git a/old/64620-h/images/plt_448.jpg b/old/64620-h/images/plt_448.jpg
new file mode 100644
index 0000000..45a1170
--- /dev/null
+++ b/old/64620-h/images/plt_448.jpg
diff --git a/old/64620-h/images/plt_449.jpg b/old/64620-h/images/plt_449.jpg
new file mode 100644
index 0000000..cfdc2d7
--- /dev/null
+++ b/old/64620-h/images/plt_449.jpg
diff --git a/old/64620-h/images/plt_450.jpg b/old/64620-h/images/plt_450.jpg
new file mode 100644
index 0000000..9bee57c
--- /dev/null
+++ b/old/64620-h/images/plt_450.jpg
diff --git a/old/64620-h/images/plt_451.jpg b/old/64620-h/images/plt_451.jpg
new file mode 100644
index 0000000..0b2ed36
--- /dev/null
+++ b/old/64620-h/images/plt_451.jpg
diff --git a/old/64620-h/images/plt_452.jpg b/old/64620-h/images/plt_452.jpg
new file mode 100644
index 0000000..5c3a95e
--- /dev/null
+++ b/old/64620-h/images/plt_452.jpg
diff --git a/old/64620-h/images/plt_453.jpg b/old/64620-h/images/plt_453.jpg
new file mode 100644
index 0000000..14e1278
--- /dev/null
+++ b/old/64620-h/images/plt_453.jpg
diff --git a/old/64620-h/images/plt_454.jpg b/old/64620-h/images/plt_454.jpg
new file mode 100644
index 0000000..ae2feeb
--- /dev/null
+++ b/old/64620-h/images/plt_454.jpg
diff --git a/old/64620-h/images/plt_455.jpg b/old/64620-h/images/plt_455.jpg
new file mode 100644
index 0000000..24a7f35
--- /dev/null
+++ b/old/64620-h/images/plt_455.jpg
diff --git a/old/64620-h/images/plt_456.jpg b/old/64620-h/images/plt_456.jpg
new file mode 100644
index 0000000..e51ce92
--- /dev/null
+++ b/old/64620-h/images/plt_456.jpg
diff --git a/old/64620-h/images/plt_457.jpg b/old/64620-h/images/plt_457.jpg
new file mode 100644
index 0000000..e18abbb
--- /dev/null
+++ b/old/64620-h/images/plt_457.jpg
diff --git a/old/64620-h/images/plt_458.jpg b/old/64620-h/images/plt_458.jpg
new file mode 100644
index 0000000..9d301e0
--- /dev/null
+++ b/old/64620-h/images/plt_458.jpg
diff --git a/old/64620-h/images/plt_459.jpg b/old/64620-h/images/plt_459.jpg
new file mode 100644
index 0000000..e8ea27f
--- /dev/null
+++ b/old/64620-h/images/plt_459.jpg
diff --git a/old/64620-h/images/plt_460.jpg b/old/64620-h/images/plt_460.jpg
new file mode 100644
index 0000000..0fa4be0
--- /dev/null
+++ b/old/64620-h/images/plt_460.jpg