PATIO DE LOS LEONES—THE COURT OF THE LIONS.
“From the lower end of the Court of the Alberca,” says Irving, “we passed through a Moorish archway into the renowned Court of Lions. There is no part of the edifice that
ENTRANCE TO THE COURT OF THE LIONS.
gives a more complete idea of its original beauty and magnificence, for not any portion 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. When one looks upon the fairy tracery of the peristyles, and the apparently fragile fret-work of the walls, it is difficult to believe that so much has survived the wear and tear of centuries, the shocks of earthquake, 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.”
MOSAIC, SOUTH SIDE OF THE COURT OF THE LIONS.
The Court of the Lions, takes its name from the fountain in the centre supported by twelve sculptured lions. The Court is a parallelogram of 100 feet by 50 feet, and is surrounded by a portico, with small pavilions at either end. The portico and pavilions consist of 128 columns, supporting arches of the most delicate and elaborate construction, which still retain much of their original beauty. The irregularity in the arrangement of the
FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS.
columns, which are placed sometimes singly, and sometimes in pairs, does not detract from the general harmony; but, on the contrary, a charming effect is produced by this capricious departure from uniformity. The capitals, though similar in outline, offer a great variety in their foliage; and though the same design is more than once repeated in this Court, no attempt appears to have been made towards a symmetrical arrangement.
The ceiling of the portico is decorated in the most complex manner, the stucco being laid on with inimitable delicacy—it is so cunningly handled as to exceed belief.
The walls are covered, to a height of five feet, with tiles of blue and yellow chequy, with a border of small escutcheons enamelled blue and gold, bearing an Arabic motto on a Bend.
THE COURT OF THE LIONS.
About each arch is arabesque work, surrounded with a rim of characters, consisting, for the most part, of verses from the Koràn. Unhappily, a modern roof of red tiles disfigures this beautiful Court, which is the most highly-prized fountain-court in the Palace.
In the centre of the Court are the twelve marble lions, conventionally treated. Supported on the backs of the animals is the beautiful basin of the fountain—in form, a dodecagon—out of which rises a lesser basin. A large volume of water falling into
THE COURT OF THE LIONS.
THE COURT OF THE LIONS.
GENERAL VIEW OF THE COURT OF THE LIONS.
GENERAL VIEW OF THE COURT OF THE LIONS.
the basins, once issued from the mouths of the lions to a large reservoir, whence it was conveyed to the apartments of the Palace. Notwithstanding that these lions exhibit the want of development in the art of sculpture amongst the Arabs, they yet possess a spirited, if primitive, grace.
The inscription around the basin has been variously given: the rendering of Pascual de Gayángos is regarded as the most
LITTLE TEMPLE IN THE COURT OF THE LIONS.
FOUNTAIN IN THE COURT OF THE LIONS.
authoritative. The verses, which may, perhaps, consist of twelve or so, are couched in the usual double-shotted language of the Oriental. Two or three are subjoined:
“Blessed be He who gave the Imam Mohammed a mansion which in beauty excels all other mansions.
“Look at this solid mass of pearl glistening all around, which falls within a circle of silvery froth, and then flows amidst translucent jewels of surpassing loveliness; exceeding the marble in whiteness, and the alabaster in transparency.
“O thou who beholdest these lions couching, fear not; life is wanting to enable them to show their fury.”
The salutary warning here given irresistibly reminds one of “the shallowest thick-skin of that barren sort” with whom the mad spirit, Robin Goodfellow, made such frolic—the immortal
A LITTLE TEMPLE IN THE COURT OF THE LIONS.
A PEEP INTO THE COURT OF THE LIONS.
Athenian weaver, who opines—“To bring in—God shield us!—a lion among ladies is a most dreadful thing; for there is not a more fearful wild-fowl than your lion living.” Yet the admonition may not have been altogether superfluous amongst the beauties of the hareem, who seldom contemplated graven images. It must not be forgotten, moreover, that the Mohammedans of Spain were somewhat lax in the matter of obedience to certain precepts of the Koràn.
GENERAL VIEW OF THE COURT OF THE LIONS.
PLATE XLI.
Centre Ornament of the Window.
No. 50.
Mosaic Dado in centre window on the N. side, Hall of Ambassadors.
The recess or divan containing these beautiful Mosaics was, doubtless, the throne of the Moorish kings. The Mosaics are as perfect as when originally executed, and seem, indeed, to be imperishable. They are formed of baked clay squeezed into moulds of the different figures, glazed on the surface.
PLATE XLII.
No. 51.
Mosaic Dados on pillars between the windows, Hall of Ambassadors.
The Mosaic Dados on the pillars of the Hall of Ambassadors present a great variety in their patterns, although the component parts are in each the same.
PLATE XLIII.
No. 52.
Mosaic Dados on pillars between the windows, Hall of Ambassadors.
Mosaics, though in appearance so different from those of the preceding plate, will be found on examination to be composed of the same pieces differently combined.
PLATE XLIV.
No. 53.
Mosaics in the Hall of the Two Sisters.
The beautiful Mosaic in the centre of this plate is part of the Dado of the Hall of the Two Sisters.
PLATE XLV.
Pavement of the Hall of the Baths.
No. 54.
Mosaic Dado round the internal walls of the Mosque.
Mosaics from the Mosque and the Hall of the Baths. The Mosaic Dados round the walls of the Mosque appear to be the only portions of the ancient private Mosque attached to the Palace which have been preserved intact in their original situation. The motto of the Kings of Granada, “There is no conqueror but God,” was replaced by “Nec plus ultra” of Charles V., when the Mosque was converted by him into a chapel. The beautiful Mosaic at the top of the plate is placed round the fountain of the Chamber of Repose of the Baths, described elsewhere.
PLATE XLVI.
No. 55.
Azulejos. Painted Tiles.
On the floor of one of the alcoves of the Hall of Justice are to be seen the painted tiles delineated in the centre of this plate.
PLATE XLVII.
No. 56.
No. 57.
Mosaics in the Baths.
PLATE XLVIII.
No. 58.
Mosaic from the portico of the Generalife.
THE COURT OF THE LIONS, FROM THE WEST.
TEMPLE IN THE COURT OF THE LIONS.
COURT OF LIONS.
SIDE ELEVATION OF THE COURT OF THE LIONS AND FOUNTAIN.
ELEVATION OF THE FOUNTAIN OF THE LIONS.
FOUNTAIN OF LIONS, WITH DETAILS OF THE ORNAMENT.
PLAN OF THE BASIN OF THE FOUNTAIN OF LIONS.
THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN OF LIONS.
PLATE XLIX.
No. 59.
Blank window, Hall of the Bark.
PLATE L.
No. 60.
Soffit of arch, Entrance of the Hall of Abencerrages.
PLATE LI.
No. 61.
Cornice at springing of arch of doorway at the entrance of the Ventana, Hall of the Two Sisters.
PLATE LII.
No. 62. | No. 63. | |
Borders of Arches. | ||
PLATE LIII.
No. 64.
Border of Arches.
PLATE LIV.
No. 65. | No. 66. | |
Borders of Arches. | ||
PLATE LV.
No. 67.
Ornament in panels on the wall, Hall of Ambassadors.
PLATE LVI.
No. 68.
Ornaments painted on the pendants, Hall of the Bark.
THE LAST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN OF LIONS.
ENTABLATURE IN THE COURT OF THE LIONS.
DETAILS OF THE CENTRE ARCADE OF THE COURT OF LIONS.
PART OF PANEL IN THE COURT OF LIONS.
ENTRANCE TO THE COURT OF THE LIONS.
(From a drawing made about 1830).
ENTRANCE TO THE COURT OF THE LIONS (UPPER PORTION).
ENTRANCE TO THE COURT OF THE LIONS.
LONGITUDINAL SECTION OF THE COURT OF THE LIONS, TAKEN THROUGH THE PAVILION AT EACH END OF THE COURT, AND EXHIBITING AN ELEVATION OF THE SIDE PORTICOS.
THE ROOF IS A MODERN ONE, OF RED TILES.
LONGITUDINAL SECTION OF THE COURT OF THE LIONS, TAKEN THROUGH THE PAVILION AT EACH END OF THE COURT, AND EXHIBITING AN ELEVATION OF THE SIDE PORTICOS.
THE ROOF IS A MODERN ONE, OF RED TILES.
PLATE LVII.
No. 69.
Bands, side of arches, Court of the Lions.
PLATE LVIII.
No. 70. | No. 71. | |
Bands, side of arches, Court of the Lions. | ||
PLATE LIX.
No. 72.
Ornaments on panels, Hall of Ambassadors.
PLATE LX.
No. 73.
Ornaments on panels, Hall of Ambassadors.
PLATE LXI.
No. 74.
Ornaments on panels, Hall of Ambassadors.
PLATE LXII.
No. 75.
Ornaments on panels, Hall of Ambassadors.
PLATE LXIII.
No. 76.
Frieze in the upper chamber, House of Sanchez.
PLATE LXIV.
No. 77.
Cornice at springing of arches, windows of the Hall of Ambassadors.
CAPITALS IN THE COURT OF THE LIONS, WITH A MEASURE OF ONE METRE.
Although the upper parts of the walls are only coated with plaster, strengthened with reeds, centuries of neglect have not sufficed to destroy this slight, “aerie, faerie” thing of filigree, which has not even the appearance of durability. Wherever the destroyer has mutilated the fragile ornaments, “the temple-haunting
NORTH GALLERY IN THE COURT OF THE LIONS.
martlet, guest of summer,” builds his nest and careers in the delicate air, breaking, with his twitter, the silence of these sunny, now deserted courts, once made for Oriental delights, and even now the place in which to read the Arabian Nights, or spend a honeymoon—
This guest of summer,
The temple-haunting martlet, does approve,
By his lov’d mansionry, that the heaven’s breath
Smells wooingly here: no jutty, frieze,
Buttress, nor coigne of vantage, but this bird
Hath made his pendent bed, and procreant cradle;
Where they most breed and haunt, I have observ’d,
The air is delicate. [Macbeth, Act i., sc. 6]