THE veritable entrance to the Alhambra is now buried within some later buildings added to the original. But it never, though Irving naturally supposed the contrary, had a grand portal in the middle. Gorgeous and showy means of ingress would not have suited the Oriental mind. The exterior of the palace and all the towers is dull, blank, uncommunicative. Their coating of muddy or ferruginous cement, marked here and there by slim upright oblongs of black window spaces, was not meant to reveal the luxury of loveliness concealed within. The Moslem idea was to secrete the abodes of earthly bliss, nor even to hint at them by outward signs of ostentation.
So the petty modern door cut for convenience is not wholly out of keeping. It ushers one with a sudden surprise into the presence of those marvels which have been for years a distant enticing vision. You find yourself, in fact, wandering into the Alhambra courts as if by accident. The first one—the Court of the Pond, or of the Myrtles—arrays before us beauty enough and to spare. But it is only the beginning. A long tank occupies the centre, brimmed with water from a rill that gurgles, by day and night forever, with a low, half-laughing sob. Around it level plates of white marble are riveted to the ground, and two hedges of clipped myrtle border the placid surface. At the nearest end a double gallery closes the court, imposed on seven arches so evenly rounded as to emulate the Roman, but upheld by columns of amazing slenderness; and in the spandrels are translucent arabesques inlaced with fillets, radiating leaf-points, and loose knots. Above these blink some square windows, shut as with frozen gauze by minute stone lattice-work, over fifteen hundred twisted or cubed pieces being combined in each. From there the women of the harem used to witness pageantries and ceremonies that took place in the court; and over the veiled windows is a roofed balcony repeating the lower arches, which would serve for spectators not under ban of invisibility.
Various low doors lead from this Court of the Pond, giving sealed intimation of what may lie beyond, but disclosing little. One turns naturally, however, to the Hall of Ambassadors at the other end, in the mighty Tower of Comares. The transverse arcade at the entrance is roofed with shining vitreous-faced tiles of blue and white that also carry their stripes over the little cupola, to which many similar ones doubtless formerly surrounded the court, and in the cloister underneath the inmates reclined on divans glinting with rippled gold-thread and embroidered with colored silks. Then comes the anteroom, the Chamber of Benediction (usually called of the Boat, on account of its long, scooped ceiling), which is like the hollow of a capsized boat suspended over us, and darkened with deep lapis lazuli. There are some low doors in the wall, meant for the humble approach of slaves when serving their masters, or leading to lost inner corridors and stairways now fallen into dust. But the large central arch conducts at once into the Hall of the Ambassadors, after we have passed some niches in which of old were set encarmined water-jars of sweet-scented clay. Beside these may have stood the carven racks for weapons of jewelled hilt and tempered blade.
In the Chamber of Benediction begin those multitudinous arabesques by which the Alhambra is most widely known. In the hall beyond they flow out with unimpeded grace and variety over the walls of an immensely high and nobly spacious apartment, pierced on three sides at the floor level with arched ajimez[8] windows halved by a thin, flower-headed column, in the embrasures of which, enchased with cement, are mouldings that overrun the groundwork in bands, curves, diamonds, scrolls, delicate as the ribs of leaves or as vine tendrils. Within these soft convolved lines, arranged to make the most florid detail tributary to the general effect, Arabic characters twisted into the design contain outbursts of poetry celebrating the edifice, the room itself. "As if I were the arc of the rainbow," says one inscription in the hooped door-way, "and the sun were Lord Abul Hachach." The windows look forth upon the sheer northern fall of the hill; the waving tree-tops scarcely rising to the balcony under the sills. They look upon old Granada dozing below in the unmitigated sunlight, with here and there the sculptured columns of a patio visible among the houses on the opposite slope; and farther away the Sesame doors of gypsy habitations cut into the solid mountain above the Darro. One of the most beautiful of glimpses about the Alhambra is that through the east window, looking along the parapet gallery to the Toilet Tower. Precipitous masonry plunges down among trees that shoot incredibly high, as if incited by the lines of the building; and on the Mountain of the Sun the irregular lint-white buildings of the Generalife—an old retreat of Moorish sovereigns and nobles—are lodged among cypresses and orange thickets. Within the hall itself all is cool, subdued, and breezy, and the smooth vault of the larch-wood ceiling, still dimly rich with azure and gold, spans the area high overhead like a solemn twilight sky at night.
It was in this Tower of Comares that the last King of Granada, Boabdil, was imprisoned with his mother, Ayeshah, by his stormy and fatuous father, Muley Abul Hassan, owing to the rival influence of the Morning Star, Zoraya, Hassan's favorite wife. Boabdil escaped, being let down to the ground by the scarfs of his mother and her female attendants. Years after, when he had succeeded to the throne for a brief and hapless reign, El Rey Chico (The Little King), as the Spaniards called him, was led by his mother into the Hall of Ambassadors after he had capitulated to Ferdinand and Isabella. Silently she made its circuit with him, and then, overcome with the bitterness of loss, she cried: "Behold what thou art giving up, and remember that all thy forefathers died kings of Granada, but in thee the kingdom dies!"
The Hall of Ambassadors is assigned to the epoch of the caliphate. Certainly the Court of Lions is invested with a somewhat different character. Its arches are more pointed, more nearly Gothic, and are hung upon a maze of exquisitely slight columns, presenting, as you look in, an opulent confusion of crinkled curves and wavering ellipses, bordered with dropping points and brief undulations that look like festoons of heavy petrified lace: as lace, heavy; but as architecture, light. There is incalculable diversity in the proportions, unevenness in the grouping of the pillars, irregularity in the cupolas; yet through all persists an unsurpassable harmony, a sensitive equilibrium. The Hall of Justice, which opens from it, and contains—contrary to Mohammedan principles—some mysterious early Italian frescoes depicting Moorish and Christian combats, is a grotto of stalactites. All this part of the palace, one would say, might have sprung from the spray of those hidden canals which brought the snow-water hither, spouting up, then falling and crystallizing in shapes of arrested motion; so perfect is the geometrical balance, so suave are the flowing lines. The un-Moorish lions sustaining the central basin are meagre and crude, and the size of the court is disappointing; but it is a miniature labyrinth of beauty. From one side you may pass into the Hall of the Abencerages, under the fine star-shaped roof of which a number of those purely Arab-blooded knights are said to have been, at the instigation of their half-Christian rivals, the Zegris, assembled at a banquet and then murdered. An invitation to dinner in those days was a doubtful compliment, which a gentleman had to think twice about before accepting.
On the other side lies the access to the Chamber of the Two Sisters, a lovely apartment, having a grooved bed in the marble floor for a current of water to course through and run out under the zigzag-carven cedar door. Everything is exactly as you would have it, and you seem to be straying through embodied reveries of Bagdad and Damascus. But it would be futile to describe the myriad traceries of these rooms; the bevelled entablatures, the elastic ceilings, displaying an order and multiplicity of tiny relief as systematic as the cells and tissues in a cut pomegranate; or the dadoes of colored tiles, still dimly glistening with glaze, and chameleonizing the base of the partitions. The culmination of microscopic refinement comes, with a sigh of relief from such an overplus of sensuous delight, in the boudoir of Lindaraxa, which overlooks from a superb embayed window a little oasis of fountained court, blooming with citrons and lemons, and bedded with violets. That small garden, green and laughing, and interspersed with dark flower-mould, lies clasped in the branching wings of masonry, as simple and refreshing as a dew-drop. It is shut in on the other side by some mediæval rooms fitted up in heavy oak panelling for Philip V. and his second bride, Elisabetta, when with rare judgment they chose this Islamitic spot for their honey-moon—a crescent, I suppose. It was in one of these rooms—the Room of the Fruits—that, to quote Señor Contreras again, "the celebrated poet Washington Irving harbored, composing there his best works." From which it will be inferred that the gallant Spaniard has not probed deeply the "Knickerbocker History of New York," the "Sketch-book," and the "Life of Washington."[9]
