Life in Morocco and Glimpses Beyond

by Budgett Meakin

Another apartment opening out of the Court of Lions, known as the Hall of Justice—most likely in error—contains one of the most curious remains in the palace, another departure from the precepts of the religion professed by its builders. This is no less than a series of pictures painted on skins sewn together, glued and fastened to the wooden dome with tinned tacks, and covered with a fine coating of gypsum, the gilt parts being in relief. Though the date of their execution must have been in the fourteenth century, the colours are still clear and fresh. The picture in the centre of the three domes[page 361] is supposed by some to represent ten Moorish kings of Granáda, though it is more likely meant for ten wise men in council. On the other two ceilings are pictures, one of a lady holding a chained lion, on the point of being delivered from a man in skins by a European, who is afterwards slain by a mounted Moor. The other is of a boar-hunt and people drinking at a fountain, with a man up a tree in a dress which looks remarkably like that of the eighteenth century in England, wig and all. This work must have been that of some Christian renegade, though considerable discussion has taken place over the authorship. It is most likely that the lions are of similar origin, sculptured by some one who had but a remote idea of the king of the forest.

After the group of apartments surrounding the Court of the Lions, the most valuable specimen of Moorish architecture is that known as the Hall of the Ambassadors, probably once devoted to official interviews, as its name denotes. This is the largest room in the palace, occupying the upper floor in one of the massive towers which defended the citadel, overlooking the Vega and the remains of the camp-town of Santa Fé, built during the siege by the "Catholic Kings." The thickness of its walls is therefore immense, and the windows look like little tunnels; under it are dungeons. The hall is thirty-seven feet square, and no less than seventy-five feet high in the centre of the roof, which is not the original one. Some of the finest stucco wall decoration in the place is to be seen here, with elegant Arabic inscriptions, in the ancient style of ornamental writing known as Kufic, most of the instances of the latter meaning, "O God, to Thee be endless praise,[page 362] and thanks ascending." Over the windows are lines in cursive Arabic, ascribing victory and glory to the "leader of the resigned, our lord the father of the pilgrims" (Yûsef I.), with a prayer for his welfare, while everywhere is to be seen here, as in other parts, the motto, "and there is none victorious but God."

Between the two blocks already described lie the baths, the undressing-room of which has been very creditably restored by the late Sr. Contreras, and looks splendid. It is, in fact, a covered patio with the gallery of the next floor running round, and as no cloth hangings or carpets could be used here, the walls and floor are fully decorated with stucco and tiles. The inner rooms are now in fair condition, and are fitted with marble, though the boiler and pipes were sold long ago by a former "keeper" of the palace. The general arrangement is just the same as that of the baths in Morocco.

One room of the palace was fitted up by Ferdinand and Isabella as a chapel, the gilt ornaments of which look very gaudy by the side of the original Moorish work. Opening out of this is a little gem of a mosque, doubtless intended for the royal devotions alone, as it is too small for a company.

Surrounding the palace proper are several other buildings forming part of the Alhambra, which must not be overlooked. Among them are the two towers of the Princesses and the Captives, both of which have been ably repaired. In the latter are to be seen tiles of a peculiar rosy tint, not met with elsewhere. In the Dar Aïshah ("Gabinete de Lindaraxa"—"x" pronounced as "sh") are excellent specimens of those with a metallic hue, resembling[page 363] the colours on the surface of tar-water. Ford points out that it was only in these tiles that the Moors employed any but the primary colours, with gold for yellow. This is evident, and holds good to the present day. Both these towers give a perfect idea of a Moorish house of the better class in miniature. Outside the walls are of the rough red of the mud concrete, while inside they are nearly all white, and beautifully decorated. The thickness of the walls keeps them delightfully cool, and the crooked passages render the courts in the centre quite private.

Of the other towers and gates, the only notable one is that of Justice, a genuine Moorish erection with a turning under it to stay the onrush of an enemy, and render it easier of defence. The hand carved on the outer arch and the key on the inner one have given rise to many explanations, but their only significance was probably that this gate was the key of the castle, while the hand was to protect the key from the effects of the evil eye. This superstition is still popular, and its practice is to be seen to-day on thousands of doors in Morocco, in rudely painted hands on the doorposts.

The Watch Tower (de la Vela) is chiefly noteworthy as one of the points from which the Spanish flag was unfurled on the memorable day of the entry into Granáda. The anniversary of that date, January 2nd, is a high time for the young ladies, who flock here to toll the bell in the hopes of being provided with a husband during the new-begun year.

At a short distance from the Alhambra itself is a group known as the Torres Bermejas (Vermilion[page 364] Towers), probably the most ancient of the Moorish reign, if part did not exist before their settlement here, but they present no remarkable architectural features.

Across a little valley is the Generalife, a charming summer residence built about 1320, styled by its builder the "Paradise of the Wise,"—Jinah el Arîf—which the Spaniards have corrupted to its present designation, pronouncing it Kheneraliffy. Truly this is a spot after the Moor's own heart: a luxuriant garden with plenty of dark greens against white walls and pale-blue trellis-work, harmonious at every turn with the rippling and splashing of nature's choicest liquid. Of architectural beauty the buildings in this garden have but little, yet as specimens of Moorish style—though they have suffered with the rest—they form a complement to the Alhambra. That is the typical fortress-palace, the abode of a martial Court; this is the pleasant resting-place, the cool retreat for love and luxury. Nature is here predominant, and Art has but a secondary place, for once retaining her true position as great Nature's handmaid. Light arched porticoes and rooms behind serve but as shelter from the noonday glare, while roomy turrets treat the occupier to delightful views. Superfluous ornament within is not allowed to interfere with the contemplation of beauty without.

Between the lower and upper terrace is a remarkable arrangement of steps, a Moorish ideal, for at equal distances from top to bottom, between each flight, are fountains playing in the centre, round which one must walk, while a stream runs down the top of each side wall in a channel made of tiles.[page 365] What a pleasant sight and sound to those to whom stair climbing in a broiling sun is too much exercise! The cypresses in the garden are very fine, but they give none too much shade. The present owner's agent has Bû Abd Allah's sword on view at his house in the town, and this is a gem worth asking to see when a ticket is obtained for the Generalife. It is of a totally different pattern and style of ornament from the modern Moorish weapons, being inlaid in a very clever and tasteful manner.