so simple yet so fantastic, conveys an impression of amazing strength, and presents an admirable example of early Arabian work.
The nunnery of Santa Fe, which was originally a regal Moorish palace, has been shorn of nearly all its ancient beauty, which is now only traceable in the arcaded brickwork of the wall, almost obliterated by exuberant foliage. There are still the remnants of Moorish ornamentation in the convent halls and corridors of San Juan de la Penitencia, and the influence of Moorish art is also seen in some good azulejo and the artesonade ceiling of Santa Isabel.
The Alcantara bridge, which was originally a Roman structure, was repaired by the Goths in 687, and rebuilt by the Moors of 866. It was of this Moorish bridge that Rasis el Moro wrote: “It was such a rich and marvellous work, and so subtly wrought, that never man with truth could believe there was any other such fine work in Spain.” Since then it has been repaired and restored wholly, or in part, no fewer than eight times; and while these alterations have changed its style and appearance, it still remains one of the finest and most picturesque monuments of Toledo. The bridge of San Martin, which compares with it in interest and beauty, was built in 1203, and is guarded at either end with a tower and gateway adorned with Moorish arches and battlements. The bridge of San Martin gives entrance to the city through the gate of the Cambron. It is no longer Moorish, as it was in the time of Alfonso VI.; but on its half-renaissance, half-classical architecture, one may still read the remains of some of those grandiloquent utterances of the Moorish spirit which prompted Ponz to style Toledo the city of magnificent inscriptions. It was a devout, if somewhat credulous, spirit which inspired the transcription of the following article of faith: “There is but one God on earth, and Mohammed is His messenger. All the faithful who believe in our prophet Mohammed, and continue to kiss the hands and feet of Murabite Muley Abda Alcadar every day, will be without sin, will not be blind, nor deaf, nor lame, nor wounded; and receiving his benediction, when the time of his death comes, will only be three days ill and dying, will go with open eyes to Paradise forgiven of all sins.” Another inscription bore the following exhortation and compensatory promise: “Prayer and peace over our lord and prophet Mohammed. All the faithful, when they went to lie down in their beds, mentioning the Alfagiu Murabito Abdala, and recommending themselves to him, will enter no battle out of which they will not come victorious; and in whatever battle against Christians they may stain their lances with Christian blood, dying that same day, will go alive and whole with eyes open to Paradise, and his descendants will remain till the fourth generation forgiven.”
The present Visagra Gate, rebuilt under Charles V., dates back to the Moors. It is entirely Moorish in character, with the heavy simple features, the triple horseshoe arches and upper crenellated apertures which we associate with the first period of Morisco architecture. Through this gate, which is now blocked up, Alfonso VI. entered Toledo. The two graceful square towers, roofed with green and white tiles, which compose the edifice, are joined by the high turreted walls of a square courtyard, and the decorations include the Senate’s dedication of the gate to Charles Quint, the sculptured arms of the emperor, a statue of St. Eugenie, two others of Gothic kings, and a life-sized angel holding an unsheathed sword. This cold, bare inventory of the ornaments of the gate convey no idea of the splendid impressiveness of the structure, the splendour and charm of
PLATE XLIX.
Blank Window.