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+*** 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 ***
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