Chapter 10

THE ALHAMBRA

ByALBERT F. CALVERT

UNIFORM WITH “MOORISH REMAINS IN SPAIN”

SOME PRESS OPINIONS

“A remarkable representation of the chief features of a building that has been, for six centuries, one of the wonders of the world.”—Times.

“The standard work upon a splendid subject.”—Daily Telegraph.

“Affords an inviting opportunity of studying this beautiful example of Moorish art.”—Morning Post.

“A treasure to the student of decorative art.”—Morning Advertiser.

“Seems to have been a labour of love.”—Sporting Life.

“Superb pictorial guide.”—Sportsman.

“It is a book apart.”—Manchester Courier.

“The final book on the Alhambra.”—Sussex Daily News.

“Takes high rank among the lavish books.”—Financial News.

“Among the most important art books which have been published.”—Globe.

“For any adequate idea of its beauty one must go to the book itself.”—Echo.

“Altogether an attractive volume.”—Sunday Special.

“Exercises on the reader something of the fascination which inspired its production.”—Observer.

“Will contribute as much as anything to bringing home to men’s minds the greatness of the Moors.”—Reynolds.

“Helps one to realise the wonder and the glory of the Alhambra in a way that few other books can do.”—Lloyds.

“As a history it is conciseness itself.”—Outlook.

“The coloured plates ... alone are worth the price of the volume.”—Academy.

“A monumental work.”—Bristol Mercury.

“A notable work of art.”—Lowestoft Standard.

“It is the last word on the subject.”—Nottingham Express.

“One of the most sumptuous of modern tomes.”—Newcastle Chronicle.

“The most adequate illustrated souvenir.”—Scotsman.

“A remarkable masterpiece of book production.”—Eastern Daily Press.

“A magnificent work.”—Melbourne Age.

“Few writers would be better qualified to describe the Alhambra.”—Bookseller.

“The most complete record ... which has ever been contemplated, much less attempted.”—British Architect.

“One of the most magnificent books ever issued from the English Press.”—Building World.

“In every way well produced.”—Building News.

“Instructive and attractive.”—Field.

“We have seldom had a more pleasurable task than that of reviewing it.”—Commercial Intelligence.

“A fitting memorial of one of the greatest of human achievements.”—Review of Reviews.

“We shall be surprised if collectors of valuable books on art do not rush to become possessed of it.”—Public Opinion.

“Artistically excellent.”—Guardian.

“Quite the most beautiful book upon the Alhambra issued in England.”—Sphere.

“One of the most artistic productions of the year.”—Publishers’ Circular.

“One of the most detailed and sumptuous works on the Alhambra that has come under our notice.”—Yachtsman.

“It may be doubted if Irving or any other visitor would perceive as much of the beauty of the Alhambra.”—Liverpool Courier.

“A monumental work ... perfect in description and equally perfect in artistic illustration.”—Sheffield Telegraph.

“At once an instruction and a delight.”—Lancashire Post.

“Will afford ... exquisite delight.”—Western Daily Press.

“An ineffable delight to every lover of the beautiful.”—Dundee Advertiser.

“Very exceptional interest and attractiveness.”—Glasgow Herald.

“A perfect treasure of beauty and delight.”—Keighley News.

“One of the most beautiful books of modern times.”—Ely Gazette.

“No traveller could desire a more sumptuous remembrancer.”—To-day.

“A very handsome art-work.”—Melbourne Argus.

MOORISH REMAINSI N S P A I N

ByALBERT F. CALVERT

UNIFORM WITH “THE ALHAMBRA”

SOME PRESS NOTICES

“This book is certainly a store-house of Moorish ornament; of plates and illustrations there are literally hundreds, numbers of them printed in colours and gold, drawn out geometrically.... The wealth of illustration cannot be gainsaid; and with it Mr.Calverthas made a genuine and very successful attempt to grapple with the problem of the working out of the bases of the Moorish geometrical designs, so amazing in their ultimate intricacy. In a series of diagrams, nearly two hundred in number, the astonishing complexity of the designs based on the triangle, rectangle, pentagon, and hexagon is unravelled with a completeness that surpasses anything of the sort with which we are acquainted. It is an excellent piece of work, which gives Mr.Calvert’sbook a real value of its own.”—Times.

“Mr.Albert F. Calverthas in this sumptuous volume produced an artisticchef d’œuvreas well as a deeply interesting historical treatise on one of the most picturesque periods of European history. Here we have in a series of graphic word-pictures the marvellous exploits of the Moors in the Peninsula, the foundation of an empire which lasted for several centuries, and has left marks of its eminence in arts and in learning, in a record of brilliant scholars and in architectural remains which are still the wonder of travellers. The influence of Moorish art is still felt among nations to whom the word Saracen is but a name, and Mr.Calverthas performed a useful work in bringing together for the benefit of artists and students the masterpieces which the ravages of time, neglect, and hatred have still spared in Spain.... Mr.Calvertdeals in these pages with Cordova, Seville, and Toledo, and gives us drawings of the most famous Moorish buildings therein, with complete details of the wonderful decorative art lavished upon them by now forgotten architects and artists. These are faithfully reproduced in the illustrations, which form a veritable treasure-house of suggestion for moderns. The author has, indeed, brought Spain to the doors of Englishmen who are unable to visit that country, and placed its treasures fully before them. It only remains to add that the volume is produced in a style worthy of the object.”—Daily Telegraph.

“A volume which is not only rich in elaborate reproductions of Moorish designs in outline and colour, but is animated by a warm admiration for the great race which has left us so many tributes to beauty. Modestly as Mr.Calvertstates his claims, the reader should not neglect his eloquent introduction, in which he reminds us that it was to the Moslem Spain first owed some permanent national organisation.... The present condition of the monuments which remain is briefly described in subsequent chapters dealing with Cordova, Seville, and Toledo. Mr.Calvert’sthorough study of Arabian work enables him to give the student valuable aid in distinguishing what are the monuments which belong to the golden age of Islamic achievement. He shows how little there is of this time in Seville, though Spanish taste endeavoured to maintain the tradition for four centuries after the Moorish spirit had given way before the conquering Christian.”—Morning Post.

“The book gives a vivid idea of the present state and former magnificence of Moorish buildings in the three Spanish cities which its author now describes; while the illustrations, which include upwards of eighty coloured plates, and an immense number of photographic halftones, are exceptionally good.”—Standard.

“An examination of the book reveals at once the fact that it is very well illustrated; while the author brings to his work an unmistakable freshness and vigour, brought about by prolonged visits to the places described, and gives evidence of the possession of the observing eye and a facility for expressive description.”—Evening Standard.

“It is really impossible to do justice, in a journal of this kind, to the sumptuous volume (its price is two guineas and the book is worth it) before us. To do that—to give the reader any adequate notion of the beauty of the illustrations with which it is enriched—we should have to summon all the resources of the colour printer’s art to our assistance, in order to reproduce them in a specialedition de luxeof the “P.M.G.” Inasmuch as that is not to be done, we must ask the reader to take it on trust from us that the illustrations of Moorish decorative art are something quite out of the common.... The making of this book must, surely, have been a labour of love; and love’s labour has certainly not been lost.”—Pall Mall Gazette.

“Qui multum peregrinatur, raro sanctificaturruns the old monkish saw; but we find its living contradiction in Mr.Calvert. This modern Jason set out to Western Australia in quest of gold. Adventuring into deserts, he found what he sought and returned home content, only to set forth again on further pilgrimages; which, if the evidence of our eyes is to be trusted, have resulted in the discovery of still more gold. Verily there is a profusion of it in this book; but its liberal use has paid the fee of sanctification. We cheerfully admit Mr.Calvertinto the ranks of those whom posterity will applaud for delightful yet unprofitable work.”—Outlook.

“This valuable and profusely-illustrated volume is designed to be the companion and complementary volume to the same author’s work on the Alhambra.... Mr.Calvert’sfrequent and protracted visits to Spain caused him to realise that the Moors were not a one-city nation, and that there were splendid remains of earlier Mohammedan architecture and decoration in Cordova, Seville, and Toledo. Moorish work of these three cities forms the theme of the present volume, in which, as in the book on the Alhambra, the letterpress is made subservient to the illustrations. The supply of pictures is at once lavish and excellent.... The colouring and the elaboration of the designs of various schemes of Moorish ornamentation, apart from general architectural effects, are often marvellous, and almost bewildering, both in the boldness of their conception and in the intricacy of their pattern.”—Guardian.

“Mr.Calverthas produced a beautiful book.... 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.

“This is one of the books to which a simply literary review cannot pretend to do justice. Mr.Calvertgives a brief record of the Moorish conquest of Spain, but the main purpose of his book is to bring before the English reader the art, architectural and decorative, of the people.... In this volume he deals with and presents, with great wealth of illustration, the relics of their achievement in Cordova, Seville, and Toledo.... The book seems worthy of the subject, and we would gladly give a more effective description of its many beauties.”—Spectator.

“As a production it is, without doubt, one of the most beautiful we have seen, the illustrations and colour printing, being exquisite. The author evidently knows his subject well, as the description in detail of Cordova, Seville, and Toledo range far and above any other publication. It is certainly one of the most interesting books of the year.”—Crown.

“A truly sumptuous volume.”—Speaker.

“This sumptuous volume.”—Westminster Gazette.

“Scholarly and richly illustrated volume.... Although he himself deprecates the value of the essays accompanying the illustrations of his book, declaring his purpose to have been rather to present a picture than to chronicle the romances of Spanish-Morisco art, Mr.Calverthas given a very complete and deeply-interesting account of the evolution of that art, which he has skilfully combined with a condensed history of the people who produced it.”—Connoisseur.

“Just when the new Spanish marriage is attracting attention to a country of departed greatness, Mr.Calvert’svolume appears with the courtliest of dedications to His Majesty Alfonso XIII. In many respects this handsome volume is a timely wedding present for his Spanish Majesty, as it is a gorgeous literary tribute to the beauty of the jewels in the Spanish Crown—Cordova, Seville, and Toledo. Mr.Calvertis an enthusiast and an antiquary.... The author himself allows us to regard his volume in the main as a picture book, and we can imagine that many a designer who eschews the noble simplicity of fresh forms and the Christian aspiration of Gothic art will turn with profit to the wealth of plates here bestowed. The coloured plates are gorgeous rather than delicate; for that wemust thank the Moors, and marvel at the inventiveness of their artist geometricians.”—Antiquary.

“Already in hisAlhambraMr.Calverthas shown his keen appreciation of the beauties of Spanish-Moresco architecture combined with an insight into its special characteristics and a recognition of the manner in which those characteristics reflect the idiosyncracies of its builders. The present volume deals chiefly with the Cathedral Mosque of Cordova, the Alcazar of Seville, and the less important relics of Moorish art at Toledo, bringing vividly before the imagination the almost bewildering richness of design, with the infinite variety, yet intrinsic simplicity, of decorative motives, that set the art of the Moors apart from that of any other people, the creators of the marvellous palaces and tombs of India not excepted.... Though Mr.Calvertrelies mainly on the copious illustrations of his book to impress upon the spectator the beauty of the survivals of Moorish art in Spain, he supplements his descriptions of them with a history of the Moors during the eight centuries of the domination in Spain. To the actual story of the three typical towns selected Mr.Calverthas added a very interesting and richly-illustrated chapter on the general principles of Arab ornament.”—Studio.

“An interesting, well-written, and illuminative work, sumptuously illustrated and tasteful alike in method and detail. Mr.Calvertis to be heartily congratulated. His admirable work on the Alhambra, to which the present volume is designed to be complementary, showed him to be not merely a careful and appreciative student of Moorish art, but a connoisseur possessed of remarkable powers of discrimination. Of the new book before us we can at once say that it is in every way worthy of its fascinating subject, and a fitting companion to its predecessor.... The exquisiteness of the Mosque Cathedral of Cordova, and the superb tracery and decoration of the Alcazar of Seville, are here adequately revealed, perhaps for the first time. Indeed, to the traveller familiar with these wonders of Moorish delicacy, the present volume will reveal new beauties. Mr.Calvert, as in his previous work, has made his letterpress subservient to his illustrations, and 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 subjects themselves.”—Liverpool Post.

“For his history and description of the mark which the Moor has left on Toledo, Cordova, and Seville, Mr.Calverthas consulted many authorities, and has produced a useful and well-written letterpress which is in style touched by the colour and romance of the subject.... Certainly the marvellous loveliness and richness and intricacy of detail, as well as the vastness of extent of boldness of conception of the relics of Moorish art in the three cities named, could not be more fully and vividly brought before the eyes than in this series of illustrations.... The great feature of the book is the series of eighty full-page coloured plates, in which the colour as well as form of the wonderful arabesque and diapering which distinguish the typical buildings of the best age of Moorish architecture in Spain, are shown with remarkable vividness and fidelity.”—Scotsman.

“It is only fitting that this important volume has been dedicated to the King of Spain, for it would be difficult to imagine a more sumptuous work illustrating the beautiful buildings which the Moors left behind them in the Peninsula to bear everlasting record to their taste and culture.... The illustrations are such a prominent feature of this volume that they claim our first attention. At the risk of being suspected of exaggeration we can only say that it is impossible to praise too highly the care with which they have been prepared. There are some hundreds of them, of which between eighty and ninety are exact reproductions in colour and gold of various portions of the marvellously beautiful decorations so beloved of the Moors and so characteristic of their work. The other illustrations are so numerous and well chosen as to give a perfect series of pictures of every portion of these Moorish buildings. Details of tracery, capitals of pillars, sections of friezes, decorations and roofs are pictured with absolute faithfulness, and as a treasure-house of Moorish art this book and its predecessor are, and will probably remain, unique. But by modestly remarking in his preface that he has made the letterpress subservient to the illustrations, the author has done himself a great injustice. Not only is the book carefully thought out and well arranged, but it is written in a most sympathetic spirit, and abounds in passages of real eloquence.”—Birmingham Daily Post.

“This handsome volume is the complement of Mr.Calvert’swork on the Alhambra, and, like its predecessor, is lavishly illustrated.... The illustrations have been chosen with excellent taste, and executed with considerable skill.... It would be difficult to find anything more representative in their respective ways.”—Manchester Guardian.

IMPRESSIONS OF SPAIN

ByALBERT F. CALVERT

8vo. 10s. 6d. NET

SOME PRESS OPINIONS

“Covers a great deal of ground, and treats a great many subjects.”—Times.

“Is full of that true knowledge which comes of sympathy, and is both more trustworthy and more agreeable than many more pretentious volumes.”—Morning Post.

“Mr.Calvertlends to his theme freshness of colour, detail, and good judgment.”—Daily Mail.

“No work of recent times so adequately depicts Spain and its people with so sympathetic an appreciation of its greatness and charm.”—Daily News.

“Its charm consists in the author’s whole-hearted enthusiasm for his subject.... Must infect the most hostile reader.”—Pall Mall Gazette.

“A most acceptable addition to the literature of travel.”—Morning Advertiser.

“We can heartily recommend this book.”—Field.

“Can be honestly recommended to anyone desirous of acquiring a knowledge of Spain.”—Court Circular.

“The author may be congratulated on a work that is by far the best he has produced.”—Mining Journal.

“Ought to be in the hands of everyone who would know something of the most maligned, and possibly, the most delectable country in Europe.”—Bookseller.

“Wholly charming.”—Commercial Intelligence.

“Cannot fail to stimulate interest in so fascinating a country.”—Shipping Gazette.

“Rarely have we seen a book that afforded us greater interest and pleasure.”—Chamber of Commerce Journal.

“Mr.Calvert’sfirst aim has been to supply reliable information ... there can be no two opinions that he has succeeded.”—Aberdeen Evening Express.

“A magnificent volume ... the best which has been published abroad concerning Spain.”—El Vanguardi(Barcelona).

“An exquisitely tasteful volume.”—El Diaro(Barcelona).

“Written in a spirit of impartiality and justice worthy of all eulogy.”—Diario de Barcelona.

“To follow Mr.Calvert... is to be stirred with the keen desire to see something in person of this ancient and always remarkable country.”—Leeds Mercury.

“Mr.Calvert’sinterest is fresh and warm, and he is frankly enthusiastic about his subject.”—Western Mail.

“A very interesting series of pen pictures.”—Birmingham Daily Mail.

“Gives evidence of keen observation and power of deduction.”—Western Daily Press.

“Those who have read Mr.Calvert’sbooks on Australia will be eager to welcome this new book from the same pen ... the same happy and skilful picturing power.”—Western Morning News.

“Makes surprisingly pleasant reading.”—Hull Daily Mail.

“Has many claims to favourable notice.”—Ilford Guardian.

“A vivid presentation of the country.”—Bristol Mercury.

“Very sympathetic and very well informed.”—Midland Counties Herald.

“One feels a strong desire to go to Spain, if only to share some of the pleasure which the author has experienced.”—Preston Guardian.

“A remarkable, beautiful and useful addition to the literature of Spanish travel.”—East Anglian Times.

“Contrives, without becoming prosy or dull in the slightest degree, to convey an immense amount of information.”—Scotsman.

“Full of colour and variety.”—Glasgow Herald.

“Fascinating because of its simplicity and realism.”—Dundee Advertiser.

“The work of a great traveller.... One of the most readable books of its kind we have come across.”—Irish Times.

“The whole of Spain will assuredly be grateful to the author for the publication of this volume.”—La Publicidad(Madrid).

“The author has rendered our country service by the publication of this work.”—El Graduador(Alicante).

“There is much of truth and justice in this study.”—El Nervion(Bilbao).

LIFE OF CERVANTES

ByALBERT F. CALVERT

CROWN OCTAVO. 3s. 6d. NET

SOME PRESS OPINIONS

“A popular and accessible account of the career of Cervantes.”—Daily Chronicle.

“An admirable, condensed biography.”—Daily News.

“Will appeal to a large number of readers.”—Morning Post.

“Mr.Calvertis to be congratulated.”—Standard.

“A very readable and pleasant account of one of the greatest writers of all time.”—Morning Leader.

“We recommend the book to all those to whom Cervantes is more than a mere name.”—Westminster Gazette.

“A timely production ... written in a straightforward, unaffected style ... supplies sufficient data to form a useful and readable narrative.”—Globe.

“The illustrations include ... a fascinating collection of title-pages and illustrations from the various editions ofDon Quixote.”—Star.

“Nothing could be more useful than this careful and authoritative book.”—Vanity Fair.

“Is made trebly interesting by the very complete set of Cervantes’ portraits it contains.”—Black and White.

“Nothing better could be desired.”—Literary World.

“It is very well written ... a really capital and most interesting little book.”—Queen.

“Thoroughly interesting and readable ... contains a wealth of information which should be greatly appreciated by all lovers of the chivalrous knight.”—Dublin Express.

“A most interesting resumé of all the facts up to the present time known.”—El Nervion(Bilbao).

“A complete and conscientious study.... The most notable work dedicated to the immortal author ofDon Quixotethat has been published in England.”—El Graduador(Alicante).

“An excellent little volume.”—Graphic.

“A well-written book ... specially valuable for the collection of the proverbs of Cervantes.”—Christian Leader.

“Terse and brief.... The work of an enthusiast who does not surrender his critical position, a careful historian, whose living interest in life is not stifled by his absorption in detail.”—Christian World.

“Those who have been interested in Cervantes ... could not do better than get it.”—Society Pictorial.

“A very timely little volume ... full of information and of convenient compass.”—Onlooker.

“A handy, compendious life.”—Rapid Review.

“Mr.Calvert, who is an appreciative writer, has condensed his subject-matter, and given it an accurate, concise, and readable form.”—Hampstead Express.

“Not the least interesting part of the volume consists of the illustrations.”—Glasgow Herald.

“There is room at the present moment for this very readable account.”—Dundee Advertiser.

“Can be heartily recommended to all who want to know something of the life of Cervantes.”—Nottingham Express.

“Mr.Calvertis entitled to the gratitude of book lovers for his industrious devotion at one of the greatest literary shrines.”—Birmingham Post.

“More than a biographical account ... the figure of Cervantes receives such a setting as only a man of letters and a scholar could give it.”—Bristol Mercury.

“Most excellent and attractive ... written with fulness of knowledge and refined appreciation of the merits of Spain’s greatest romancer.”—Yorkshire Daily Post.

“No Spaniard could have written it with more conscientiousness and enthusiasm.... All the plates are exquisite, and, as the historical narrative leaves nothing to be desired, the book constitutes a most opportune literary jewel.”—El Defensor(Granada).

FOOTNOTES:[1]FormerlyIlliberis, the Roman town at the foot of the Sierra Nevada, about six miles from Granada.[2]Kilaat Al-hamra, the red castle.[3]Shenílis theSingilisof the Romans. The name of another “considerable stream” of Granada—the Darro—is derived fromHadárohin Arabic, probably fromHadár, which means the rapidity with which a swollen river comes down from the mountains; a description well defining the character of the river Darro, which rushes down the hill-side and comes boiling along its channel at the foot.[4]The Moors were not finally expelled from Spain until 1610.[5]It is a little singular that not only the Arab Governor of North Africa, Viceroy of the Caliph Welid, who despatched from Ceuta the invading forces under Tarif and Geb-al-Tarik, bore this name; but, eight centuries afterwards, the gallant hero who alone was able to rouse the lethargic Boabdil from his stupor to make a last stand for Islam, bore it also. The name of Musa of Granada must always be honoured as that of a fearless knight who, disdaining to surrender, at the last rode through a score of Christian knights, killing many of them; and, when too weak to continue the struggle, threw himself, encumbered with armour, into the river Xenil, thus meeting his end.[6]The Conde de Tendilla, the first Alcayde of the Alhambra, raised the tomb to be seen in the Cathedral of Granada, where lies Fernando “the Good,” of Talavera, first Archbishop of Granada, who died 14th May, 1507. The Count inscribed it “Amicus Amico.”[7]“Boabdil” is a corruption of Abu’ Abdillah, or Boabdila, as the Spaniards pronounced the name. He was, in addition to his sobriquet of “the Unlucky,” also called As-sagher, or “the lesser” (el rey chico), to distinguish him from his uncle and successor, Abu’ Abdillah (Mohammed XII.)[8]In the Hall of the Ambassadors, or Golden Saloon, is an inscription referring to this:—“The best praise be given to Allah! I will remove all the effects of an Evil Eye upon our master Yúsuf.”[9]Edited by Pablo Lozano. The antiquities and history of the Moorish domination in Spain remained unheeded until representations were made that research and accurate delineation would alone make their monuments intelligible. The Royal Academy of St. Ferdinand was commissioned to make drawings of the Palace of the Alhambra and of the Mosque of Córdova. The result of their labours were published at Madrid, in 1780, in a folio volume entitled as above, with sixteen plates of Arabic designs, accompanied by a few pages of letterpress. It is an exceedingly rare volume.[10]Madrid, 1780 (already referred to).[11]The Moorish fortress of Alhama was rightly regarded as one of the two “Keys” of Granada, Loja—the Lôsha of the Moors—ranking as the other. Loja was besieged by Ferdinand and Isabella, and captured, in 1488, after thirty-four days’ investment; chiefly, it is said, by the aid of English archers under Earl Rivers, son of Anthony Wydeville, brother to Elizabeth, Queen of our Edward IV. Alhama had fallen 28th February, 1482, and its loss is the subject of the ballad referred to.[12]Such, at least, are the reasons given for the abandonment of the gigantic blocks of stone which were heaped up by Charles to rival the unsurpassable. It is said, however, that repeated shocks of earthquake frightened him out of the enterprise.[13]Al-’arif, in Spanish,Alarife, means “an inspector of public works”; and, according to Ibnu-l-Khattíb, the Grand Wizír of Yúsuf I., and of his son, Mohammed V., the site of the Generalife belonged to a person of that profession before it passed into the hands of the SultánIsma’il-Ibn-Faraj, who, inA.D.1320, bought the land for a large sum, and built the palace as a delightful retreat from the cares of State.[14]Acequia Court. The Arab word isSákiyyah, whence the SpanishAcequiais derived. The word means an artificial or diverted running stream in a garden; or, a canal for the purpose of irrigation.

FOOTNOTES:

[1]FormerlyIlliberis, the Roman town at the foot of the Sierra Nevada, about six miles from Granada.

[2]Kilaat Al-hamra, the red castle.

[3]Shenílis theSingilisof the Romans. The name of another “considerable stream” of Granada—the Darro—is derived fromHadárohin Arabic, probably fromHadár, which means the rapidity with which a swollen river comes down from the mountains; a description well defining the character of the river Darro, which rushes down the hill-side and comes boiling along its channel at the foot.

[4]The Moors were not finally expelled from Spain until 1610.

[5]It is a little singular that not only the Arab Governor of North Africa, Viceroy of the Caliph Welid, who despatched from Ceuta the invading forces under Tarif and Geb-al-Tarik, bore this name; but, eight centuries afterwards, the gallant hero who alone was able to rouse the lethargic Boabdil from his stupor to make a last stand for Islam, bore it also. The name of Musa of Granada must always be honoured as that of a fearless knight who, disdaining to surrender, at the last rode through a score of Christian knights, killing many of them; and, when too weak to continue the struggle, threw himself, encumbered with armour, into the river Xenil, thus meeting his end.

[6]The Conde de Tendilla, the first Alcayde of the Alhambra, raised the tomb to be seen in the Cathedral of Granada, where lies Fernando “the Good,” of Talavera, first Archbishop of Granada, who died 14th May, 1507. The Count inscribed it “Amicus Amico.”

[7]“Boabdil” is a corruption of Abu’ Abdillah, or Boabdila, as the Spaniards pronounced the name. He was, in addition to his sobriquet of “the Unlucky,” also called As-sagher, or “the lesser” (el rey chico), to distinguish him from his uncle and successor, Abu’ Abdillah (Mohammed XII.)

[8]In the Hall of the Ambassadors, or Golden Saloon, is an inscription referring to this:—“The best praise be given to Allah! I will remove all the effects of an Evil Eye upon our master Yúsuf.”

[9]Edited by Pablo Lozano. The antiquities and history of the Moorish domination in Spain remained unheeded until representations were made that research and accurate delineation would alone make their monuments intelligible. The Royal Academy of St. Ferdinand was commissioned to make drawings of the Palace of the Alhambra and of the Mosque of Córdova. The result of their labours were published at Madrid, in 1780, in a folio volume entitled as above, with sixteen plates of Arabic designs, accompanied by a few pages of letterpress. It is an exceedingly rare volume.

[10]Madrid, 1780 (already referred to).

[11]The Moorish fortress of Alhama was rightly regarded as one of the two “Keys” of Granada, Loja—the Lôsha of the Moors—ranking as the other. Loja was besieged by Ferdinand and Isabella, and captured, in 1488, after thirty-four days’ investment; chiefly, it is said, by the aid of English archers under Earl Rivers, son of Anthony Wydeville, brother to Elizabeth, Queen of our Edward IV. Alhama had fallen 28th February, 1482, and its loss is the subject of the ballad referred to.

[12]Such, at least, are the reasons given for the abandonment of the gigantic blocks of stone which were heaped up by Charles to rival the unsurpassable. It is said, however, that repeated shocks of earthquake frightened him out of the enterprise.

[13]Al-’arif, in Spanish,Alarife, means “an inspector of public works”; and, according to Ibnu-l-Khattíb, the Grand Wizír of Yúsuf I., and of his son, Mohammed V., the site of the Generalife belonged to a person of that profession before it passed into the hands of the SultánIsma’il-Ibn-Faraj, who, inA.D.1320, bought the land for a large sum, and built the palace as a delightful retreat from the cares of State.

[14]Acequia Court. The Arab word isSákiyyah, whence the SpanishAcequiais derived. The word means an artificial or diverted running stream in a garden; or, a canal for the purpose of irrigation.

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