PALACE OF CHARLES V.
On one side of the Plaza de los Algibes—Place of the
PALACE OF CHARLES V.
Cisterns—is an isolated Moorish tower called La Torre del Vino, built in 1345, by Yúsuf I., and remarkable for its exquisite arch, called the “Wine Gate” (see page 133). Opposite is the large Palace begun by Charles V., great in conception and impotent in conclusion, unfurnished and roofless. To make way for this edifice, Charles destroyed large portions of what the Moors had raised, tearing down whole ranges of the Alhambra.
ELEVATION AND SECTION OF THE PALACE OF CHARLES V.
INTERIOR, PALACE OF CHARLES V.
PART OF EXTERIOR, PALACE OF CHARLES V.
This pile of buildings, commenced for Charles V., was never finished, in consequence of his frequent absence, occasioned by the almost perpetual wars in which he was engaged, particularly in his efforts to suppress the insurrections of the Moors in the Alpujarras, and elsewhere.[12] The spot chosen for
ROMAN COURT, PALACE OF CHARLES V.
the site of the Palace commands a most beautiful view of the city of Granada, as well as its surrounding Vega. As a specimen of Spanish architecture, it reflects the highest credit on Pedro Machuca, who began it in 1526. It is, in every way, adapted to the climate; and its interior, which, in its chief feature, takes a circular form, is spacious and splendid. In any other situation the Palace of Charles V. would justly excite admiration: but here it is misplaced. With all its grandeur and architectural excellence, Washington Irving could only look upon the structure as “an arrogant intrusion.” It is falling rapidly to decay. The walls are crumbling, the wood-work is rotten, and the splendid apartments—all that resulted from an intention to eclipse the palace of the Moslem kings—are given up to bats and owls.
This projected Palace, begun in 1526, progressed slowly until 1633, and was then abandoned. Whatever beauty there is in the Spanish Palace at Granada, is external. On the other hand, the Moors were content with the beauty of the interior of the Alhambra.
Plan of the Alhambra Palace at Granada.
Specially drawn for Mʳ Albert F. Calvert’s book on the Alhambra, from measurements by the late M. Jules Goury
GROUND-FLOOR PLAN OF THE ALHAMBRA, AND OF THE FOUNDATIONS OF THE PALACE OF CHARLES V.
PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEOUS VAULTS OF THE ALHAMBRA.
HALL OF JUSTICE.
SUNK LINES ON THE WALLS, HALL OF JUSTICE AND COURT OF THE LIONS.
FRIEZE IN THE HALL OF THE TWO SISTERS.
PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS.
ORNAMENT IN PANELS, HALL OF THE BARQUE.
ORNAMENT IN PANELS, HALL OF AMBASSADORS.
CORNICE OVER COLUMNS, COURT OF THE LIONS.
FRIEZE OVER COLUMNS, COURT OF THE LIONS.
BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS.
PANELLING IN WINDOWS, HALL OF AMBASSADORS.
ORNAMENT IN PANELS, COURT OF THE MOSQUE.
ORNAMENTS AT THE JUNCTIONS OF INSCRIPTIONS, COURT OF THE LIONS AND COURT OF THE FISH-POND.
SUNK LINES ON THE WALLS, HOUSE OF THE COMMANDANT.
ORNAMENT IN PANELS, HALL OF AMBASSADORS.
DETAILS OF THE ORNAMENTS WHICH ARE INTRODUCED INTO THE PAINTING OVER THE CENTRE ALCOVE OF THE HALL OF JUSTICE. THESE ORNAMENTS, BEING OF A STRICTLY MOORISH CHARACTER, STRONGLY SUPPORT THE OPINION THAT THE PAINTINGS ON THE CEILINGS OF THE ALCOVES OF THE HALL OF JUSTICE ARE THE WORK OF MOORISH ARTISTS.
DETAILS AND ARABIAN INSCRIPTIONS.
DETAILS OF ARABIAN WORK.
DETAILS, AND INSCRIPTIONS, AND ARABIAN CHAPITERS.
DETAILS OF ARABIAN WORK.