GRANADA.
THE REJA OF THE REYES CATOLICOS.
I WAS tempted to sketch this magnificent screen for four reasons:—
Firstly, because it is, I believe, entirely of iron, which most of the Spanish Rejas are not.
Secondly, because it is, I also believe, the earliest specimen of anything like equal importance in Spain.
Thirdly, because of its historical interest in enclosing the tombs of "the Catholic Sovereigns" on the spot before which the greatness of their lives had been achieved.
Fourthly, because I considered it to be the best in design of all I saw.
It is by no means the richest, but it appeared to me to be arranged upon the justest principles. Its chief merits, as compared with many others, I considered to be as follows:—
Firstly, its transparency. One of the most important qualities any such screen should possess, is that of due subordination to the great architectural features of the locality in which it is placed. Where ornament is spread all over the surface of a screen, or where the main lines wander about in capricious directions, the eye is arrested by the metal work as a plane surface; and if not actually stopped by it, is at least led off in wayward directions, and fails to pass beyond it. In this case, the rectangularity of the whole gives great repose; the plain vertical bars almost disappear; while the splendidly ornamented portions of the screen seem as if suspended in mid air, and in no wise injure the effect of the architecture,[49] or diminish the apparent space of the locality they decorate.
Secondly, its stability without heaviness. The subdivision of the whole surface into regular compartments allows of a concentration of strength in the skeleton lines, and gives great constructional stiffness without too much formality.
Thirdly, its propriety of design. Its author has simply, as it were, asserted the principle of "serve God and honour the King;" instead of, as is usual, "look at me, and see what a fine fellow I am." At the summit of his design he has represented the Crucifixion; immediately beneath, the leading incidents of Gospel history, making conspicuous (in compliment no doubt to the triumph of the Church in the entry into Granada of his sovereigns), Christ's entry into Jerusalem. As the central object, not much less than twenty feet square, he has grouped in masterly style the full heraldic insignia of those whose remains are deposited in the chapel beyond. The lower portion of his design has evidently been intended simply to give stability to the upper part, and to close the access to the magnificent marble and alabaster monuments of Ferdinand and Isabella, and of Philip of Burgundy and "Juana la Loca," without interfering with the facilities for seeing them of those who might gain access to the Antechapel, but be refused it to the Mausoleum itself.