Cathedral Cities of Spain Part 2

GRANADA

Spread out on the edge of a fertile plain at the base of the Sierra Nevada, Granada basks in the sun; and though the wind blows cold with an icy nip from the snows of the highest peaks in Spain, I cannot but think that this, the last stronghold of the Moors, is the most ideal situation of any place I have been in.

The city is divided into three distinct districts, each with its own peculiar characteristics. The Albaicin, Antequeruela, and Alhambra. The first named covers the low ground and the hills on the bank of the Darro, a gold-bearing stream which rushes below the Alhambra hill on the north. The second occupies the lower portion of the city which slopes on to the plain, and the Alhambra rises above both, a well-nigh demolished citadel, brooding over past glories of the civilised Moor, the most fascinating spot in all Spain.

The Albaicin district is practically the rebuilt Moorish town, where the aristocrats of Seville and Cordova settled when driven out of those cities by St. Ferdinand in the thirteenth century. Many traces remain to remind one of their occupation in the tortuous streets which wind up the steep hill sides, and the wall which they built for greater security is still the boundary of the city on the north. The Albaicin is a grand place to wander in and lose oneself hunting for relics and little bits of architecture. At every turn of the intricate maze I came across something of interest, either Moorish or Mediaeval. A mean looking house with a fine coat-of-arms over the door had evidently been built by a knight with the collector's craze. He had specialised in millstones; a round dozen or more were utilised in the lower portions of the wall and looked strange with stones set in the plaster between them. A delicious _patio_, now given over to pigs and fowls, with a broken-down fountain in the centre of its ruined arcaded court, recalled the luxuries of the Infidel. The terraced gardens standing behind and above many a blank wall carried me back to those days of old when the opulence of the East pervaded every dwelling in this Mayfair of Granada. Of all these the Casa del Chapiz, though degraded into a low-cla.s.s dwelling, is with its beautiful garden the most perfect remnant of the exotic Moor.

[Ill.u.s.tration: GRANADA. CARRERA DE DARRO]

In the Carrera de Darro, just opposite the spot where once a handsome Moorish arch spanned the stream, stands a house wherein is a Moorish bath surrounded by horseshoe arcades. The bath is 18 ft. square, and in the vaulted recess beyond is one of smaller dimensions commanding more privacy for the cleanly Eastern whose day was never complete without many ablutions.

Not far away up the hillside, in cave-dwellings amidst an almost impenetrable thicket of p.r.i.c.kly pears, live the _gitanos_. I fear they now exist on the charity of the tourist, and make a peseta or two by fortune-telling or in the exercise of a more reprehensible cleverness, a light-fingered dexterity which is generally only discovered by those who "must go to the gipsy quarter" on their return to the hotel. These gipsies no longer wander in the summer months and lie up for the winter as they did of yore. They are not the Romanies of old times, and a nomadic life holds no charm for them now. They make enough out of the tourist to eke out a lazy existence throughout the year, and are fast losing all the character of a wandering tribe and the lively splendour of their race.

Higher up, the banks of the Darro are lined with more cave-dwellings, a great many of which, to judge by their present inaccessibility, are undoubtedly of prehistoric origin. Those that I took to be of later date have a sort of level platform in front of the entrance, from which the approach of a stranger could be seen and due warning taken by those inside of any hostile intent.

The Antequeruela quarter, called thus from the remnant of Moorish refugees who driven from Antequera found here a home, extends from the base of Monte Mauro to some distance below the confluence of the Darro and Genil, Granada's other river. It is the most modern quarter and busiest part of the city.

The life of an ordinary Spanish town pa.s.ses in front of me as I sit in the sun sharing a seat with an old man wrapped closely in a _capa_. It is April. We are in the Alameda, a broad promenade which leads to the gardens of the Paseo de Saln and de la Bomba. On either side are many coloured houses with green shutters. They are very French, and to this day I try to recall the town in France where I had seen them before. How often this happens when we travel abroad!--a face, a scent, a sound.

Memory racks the tortuous channels of half-forgotten things stored away somewhere in the brain, and for days with an irritating restlessness we wander fruitlessly amid the paths of long ago.

I turned to my companion on the seat, he looked chilled despite the warmth of an April sun. "Tell me, sir, to whom does all the fine country of the Vega belong?" "Absent landlords, senor; they take their rents and they live in Madrid, and the poor man has no one to care for him."

"But surely he begs and does not wish to work or to be cared for. The beggars in Granada are more numerous than in any place I know." "That is true, senor," and with a shake he relapsed into silence, drawing his _capa_ closer around him. The turn the conversation had taken was not worth pursuing.

New buildings are superseding the old in Antequeruela, and poverty and squalor pushed further out of the sight of El Caballero, his Highness the tourist. aesthetically we appreciate the picturesque side of poverty, the tumble-down houses, the rags, the graceful att.i.tudes of the patient poor for ever s.h.i.+fting in the patches of sunlight as the great life-giver moves round. Dinner will be ready for us at 7 o'clock in the hotel, there would be no call to leave home if every town we came to was clean and its people prosperous. "But what about _Los Pobres_, the beggars?" you ask. "Are they really deserving of charity, or only lazy scoundrels?" I cannot answer you. I can only tell you that I have never seen such terrible emaciated bundles of rags as those I saw in Granada.

In Seville, though it is forbidden to beg, it was the one-eyed that predominated; in Cordova he of no legs, who having marked down his prey, displayed great agility as he scuttled across the street with the help of little wooden hand-rests; but here not only were both combined, but various horrors of crippled and disfigured humanity with open sores and loathsome disease thrust themselves before me wherever I went. It was disgusting--but oh! how picturesque! If only, my good _Pobres_, you would not come so close to me!

They say Spain is the one unspoilt country in Europe. Personally I think she is the one country that wants regenerating. Her girls are women at sixteen, old at thirty, and aged ten years later. Her men take life as it comes with very little initiative to better themselves. Very few display any energy. Their chief thoughts are woman, and how to pa.s.s the day at ease. Luckily for the country, at the age when good food and clean living helps to make men, her youth is invigorated by army service. True it is not popular. In the late war they died like flies through fever and ill-feeding, and many were the sad tales I heard of Jose and Pedro returning from the front with health ruined for life. It was a sad blow to Spain, that war. Her navy demolished and her colonies lost. It may be the regeneration of the nation, her well-wishers hope so, but it is a difficult thing to change the leopard's spots. The beggar being hungry begs, and well-nigh starves, his children follow his example and probably his great grandchildren will be in the same line of business a hundred years hence--_Quien sabe?_ who knows?

I still sit in the sun rolling cigarettes; it is extraordinary how soon the custom becomes a habit, and think of all this. A string of donkeys pa.s.ses with baskets stuffed tight with half a dozen large long-funnelled water cans. They have come in with fresh drinking water from the spring up the Darro under the Alhambra hill, and a little later the water-sellers will be offering gla.s.ses of the refres.h.i.+ngly cool contents of their cans. Granada is a city running with water, but the pollution from the drains and the never-ending ranks of women on their knees wrinsing clothes in its two streams, into which, by the way, all dead refuse is thrown, makes that which is fit to drink a purchasable quant.i.ty only.

I watch the peasants from the Vega, who come in with empty panniers slung across their donkeys, sc.r.a.ping up the dirt of the streets which they take away to fertilise their cottage gardens. Herds of goats go by muzzled until milking is over. They make for that bit of blank wall opposite, and stand licking the saline moisture which oozes from the plaster in the shade. The goats of Granada are reckoned the finest in Spain, and, as is the custom throughout Andalusia, graze in the early spring on the tender shoots of the young corn. This not only keeps them in food, but improves the quality of that part of the crop which reaches maturity. I could sit all day here if only the sun stood still. My companion removed himself half an hour ago and it is getting chilly in the shade, so up and on to the Cathedral.

What a huge Renaissance pile it is. Built on the Gothic plans of Diego de Siloe it is undoubtedly the most imposing edifice of this style in Spain. Fergusson considers its plan makes it one of the finest churches in Europe. The western facade was erected by Alonso Cano and Jose Granados, and does not follow Siloe's original design. The name of the sculptor-painter is writ in big letters throughout the building. To him are due the colossal heads of Adam and Eve, let into recesses above the High Altar, and the seven pictures of the _Annunciation_, _Conception_, _Presentation in the Temple_, _Visitation_, _Purification_ and _a.s.sumption_ in the Capilla Mayor. The two very fine colossal figures, bronze gilt, which stand above the over-elaborated pulpits; a couple of beautiful miniatures on copper in the Capilla de la Trinidad; a fine Christ bearing the Cross and a head of S. Pedro over the altar of Jesus Nazareno, are also by Cano. Many other examples from his carving tools and brush are to be found in the Cathedral, of which he was made a "Racione" or minor Canon, after fleeing from Valladolid when accused of the murder of his wife. The little room he used as a workshop in the Great Tower may still be visited and his remains lie tranquilly beneath the floor of the _coro_.

[Ill.u.s.tration: GRANADA. EXTERIOR OF THE CATHEDRAL]

In the Capilla de la Antigua there is that curious little image which, found in a cave, served Ferdinand as a battle banner; and also contemporary (?) portraits of the King and his Queen.

To me the thing of surpa.s.sing interest, which ought to be the most revered building in all Spain, was the Capilla Real and its contents.

The _reja_, which separates the choir from the rest of the chapel, is a magnificent piece of work, coloured and gilded, by Bartolome. As the verger unlocked the great gate he drew my attention to the box containing the lock with its three beautifully wrought little iron figures and intricate pattern. We pa.s.sed in, the gate swung to with a click, the lock was as good as if it had but recently been placed there.

These _rejas_ throughout the country are all in splendid condition. A dry climate no doubt preserves them as it has preserved everything else, and I very seldom detected rust on any iron work. The humidity of the winter atmosphere is insufficient, I suppose, to set up much decay in metal, and certainly the only decay in Spain is where inferior material has been used in construction, or the negligence of man has left things to rot.

With the gate locked behind me I stood in front of the two marble monuments, the one of the rec.u.mbent figures of Ferdinand and Isabella, the other of Philip and Juana la Loca--crazy Jane. Beyond rose the steps up to the High Altar, close at my side those--a short flight--that led to the crypt where the coffins of these four rest. I felt surrounded by the Great of this Earth, and certainly a feeling of awe took hold of me as their deeds pa.s.sed through my mind and I realised that here lay the remains of those who had turned out the Moor, bidden G.o.d-speed to Columbus, and inst.i.tuted the Inquisition.

They are wonderful tombs these two. Ferdinand wears the order of St.

George, the ribbon of the Garter, Isabella that of the Cross of Santiago, Philip and his wife the Insignia of the order of the Golden Fleece. Four doctors of the church occupy the corners of the first tomb, with the twelve Apostles at the sides. The other has figures of SS.

Michael, Andrew, and John the Baptist, and the Evangelist. Both tombs are elaborately carved, the medallions in _alto-relievo_ being of very delicate work. Next to that magnificent tomb in the Cartuja de Miraflores at Burgos, these are the finest monuments in all Spain.

Above the High Altar is a florid _Retablo_ with not much artistic merit.

My interest was entirely centred in the two portrait figures of Ferdinand and Isabella. They each kneel at a Prie-Dieu facing one another on either side of the altar--the King to the north, the Queen to the south. Below them in double sections are four wooden panels in bas-relief, to which I turned after a long examination of these authentic and contemporary portraits. These panels are unsurpa.s.sed as records of the costume of the day and a faithful representation of their subject. On the left is the mournful figure of Boabdil giving up the key of the Alhambra to Cardinal Mendoza, who seated on his mule between the King and Queen, alone wears gloves. Surrounding them are knights, courtiers and the victorious soldiery. In the background are the towers of the Alhambra. To the right is seen the wholesale conversion by Baptism of the Infidel, the princ.i.p.al figures being monks who are very busy over their work, inducing the reluctant Moor to enter an alien Faith.

There is something very impressive about these panels, they render so well and in such a nave manner the history they record. The surrender of the Moor after 750 years' rule, the end of his dreams, the final triumph of the King and Queen, who devoted the first portion of their reign to driving him out of the country, and the great church receiving the token of submission at the end of last act, they are all here.--The verger touched my arm, my reverie of those stirring times was broken, he had other things to show and noon was fast approaching. Pointing to three iron plates let into the floor of the chapel, he inquired if I would like to see the spot where rest the coffins of these great makers of history. Certainly; I could not leave the Cathedral without a silent homage to those who placed Spain first among the nations. He lifted the plates, and lighting a small taper which he thrust into the end of a long pole, disappeared down the steps, with a warning to mind my head for the entry was very low. I followed, stooping. At the bottom of the steps was a small opening heavily barred. The verger pushed his lighted taper and pole through the bars, and beckoned to me to look. I peered into the dark chamber, there resting on a marble slab were the rough iron-bound coffins of the "Catholic Kings." The taper flickered and cast long shadows in the gloom, discovering the coffins of Philip and Juana.

It was all very eerie, a fitting climax in its simplicity to the magnificent monuments above and to the history writ on the walls of the Capilla Real. I shall never forget it.

In the sacristy I was shown the identical banner which floated from the Torre de la Vela when the Alhambra had surrendered. Isabella herself had worked this for the very object to which it was put. Next to it hangs Ferdinand's sword, with a remarkably small handle. I had thought, from the kneeling effigy in the Capilla Real, that both he and Isabella must have been small-made and this verified my guess. Many other personal relics of the two were shown me. The Queen's own missal, a beautiful embroidered chasuble from her industrious fingers, an exquisitely enamelled viril, &c. Time was short, my verger wanted his dinner, and I had seen enough for one morning. He let me out through the closed door into the Placeta de la Lonja and in a sort of dream I carried away all I had seen.

The next morning I returned to the Placeta and stood in the doorway of the old Royal Palace, now used as a drapery warehouse, and commenced the drawing figured in the ill.u.s.tration. The rich late Gothic ornament of the exterior of the Capilla Real is well balanced by the Lonja which backs on to the sacristy. Here Pradas's work has been much mutilated and the lower stage of the arcading built up. The twisted columns of the gallery and its original wooden roof remain to tell us what this fine facade once was.

There is a great deal of interest in this huge Cathedral, which to the tourist is quite overshadowed by the Alhambra. In the north-west corner of the Segrario which adjoins the building on the south, is the Capilla de Pulgar. Herman Perez del Pulgar was a knight serving under Ferdinand's banner. Filled with holy zeal, he entered Granada one stormy night in December 1490 by the Darro conduit, and making his way to the Mosque which then stood where the Segrario now is, pinned a scroll bearing the words Ave Maria to its princ.i.p.al door with his dagger. This daring deed was not discovered until the next morning, by which time the intrepid knight was safe back in camp. His courage was rewarded by a seat in the _coro_ of the Cathedral, and at his death his body was interred in the chapel which bears his name.

Nearly all the churches of Granada occupy the sites of Mosques. Santa Anna, like San Nicolas, has a most beautiful wooden roof. San Juan de los Reyes contains portraits of Ferdinand and Isabella; its tower is the minaret of what was once a Mosque.

The Cathedral itself is so crowded in by other buildings, that no comprehensive view of the fabric is possible. Unfortunately this is the case, with one or two notable exceptions, throughout the country. Its fine proportions are thus lost, and it is only the interior with its great length and breath, its lofty arches and fine Corinthian pilasters that serve to dignify this House of G.o.d.

Taking a morning off, I walked out to the Cartuja Convent. The Gran Capitan, Gonzalo de Cordoba, at one time granted an estate to the Carthusians and on it they erected the convent to which I turned my steps. The Order about this time was immensely wealthy and they spent money with reckless lavishness on the interior of their church.

Mother-of-pearl, tortoisesh.e.l.l, ebony and cedar-wood entered largely into their decorations, as well as ivory and silver. But perhaps the marbles in the church are the most remarkable part of their scheme.

These were chosen for the wonderful patterns of the sections, and with a little stretch of the imagination I could trace well-composed landscapes, human and animal forms in a great many of the slabs. The overdone chirrugueresque work, to which add these fantastic wall decorations, makes this interior positively scream. It is nothing more nor less than a vulgar display of wealth. The cloisters of the convent also attest the bad taste of the Carthusians, they contain a series of pictures which represent the most repugnant and bloodthirsty scenes of persecutions and martyrdoms of the Order.

In another convent, San Geronimo, was buried the Gran Capitan. A slab marks the spot, but his poor bones were exhumed and carried off to Madrid in 1868 to form the nucleus of a Spanish Pantheon. Needless to say, like so many other great ideas in Spain, nothing further was done, and Gonzalo's remains still await a last resting-place.

One more fact before I reach the Alhambra. In the church of San Juan de Dios you may see the cage in which the founder, Juan de Robles, was shut up as a lunatic. What do you think his lunacy was? Having the infirm and the poor always before him, this tender-hearted man went about preaching the necessity of hospitals to alleviate their distress. Aye, he was a hundred years and more before his time, so they shut him up in a cage and there let him rot and die. Those that came after in more enlightened days valued the good man's crusade at its proper price, and he was eventually canonised, and his supposed remains now rest in an _urna_.

Up a toilsome approach, splas.h.i.+ng through the mud, I drove on the night I reached Granada. As the horses slowed up, I put my head out of the carriage window, we were pa.s.sing under an archway and I knew that at last one of the dreams of my life was realised. I was in the Alhambra. I became conscious of rows and rows of tall trees swaying in the wind. I smelt the delicious scent of damp earth, and could just distinguish, as the carriage crawled up the steep ascent, in the lulls of the storm, the sound of running water. It was fairyland, it was peace. After that long, tedious journey and the glare of the electric lit streets I had just pa.s.sed through, I sank back on the cus.h.i.+ons and felt my reward had come.

[Ill.u.s.tration: GRANADA. THE ALHAMBRA]

How is it possible to describe the Alhambra? It has been done so often and so well. Every one has read Was.h.i.+ngton Irving, and most of us know Victor Hugo's eulogy. I had better begin at the beginning, which is the gateway erected by Charles V. under which I pa.s.sed with such a happy consciousness. Further up the hill, through which only pedestrians can go, is the Gate of Judgment, the first gateway into the Moorish fortress. Above it is the Torre de Justicia erected by Yusuf I. in 1348.

On the external keystone is cut a hand, on the inner a key. Much controversy rages round these two signs and I leave it to others to find a solution. In old days the Kadi sat in this gateway dispensing justice.

The ma.s.sive doors still turn on their vertical pivots, the spear rests of the Moorish guard are still attached to the wall, and you must enter, as the Moors did, by the three turns in the dark pa.s.sage beyond the gate. A narrow lane leads to the Plaza de las Algibes, under the level of which are the old Moorish cisterns. To the right is the Torre del Vino, and on the left the Acazaba.

Come with me up the short flight of steps into the little strip of garden. Let us lean over the wall and look out on to the Vega. Is there anywhere so grand and varied an outline of plain and mountain? Do you wonder at the tears that suffused the eyes of Boabdil as he turned for a last look at this incomparable spot? The brown roofs of Granada lie at our feet. Far away through the levels of the green plain, the Vega, I can see the winding of many silver streams. Beyond those rugged peaks to the south lies the Alpujarras district, the last abiding place of the conquered Moor. Further on the ma.s.s of the Sierra Aburijara bounds the horizon, west of it is the town of Loja, thirty miles away, buried in the dip towards Antequerra. To the north is Mount Parapanda, the barometer of the Vega, always covered with mist when rain is at hand.

Nearer in is the Sierra de Elvira, spread out below which are the dark woods of the Duke of Wellington's property--he is known in Spain as Duque de Ciudad Rodriguez. It is clear enough for us to see the blue haze of the mountains round Jaen, and the rocky defile of Mochin. The Torre de la Vela shuts out the rest of the view. There is a bell hanging in this tower which can be heard as far away as Loja. Now turn and look behind. Right up into the blue sky rise the snow peaks of the Sierra Nevada. Mulhacen, the highest point in all Spain, is not visible, but we can see Veleta which is but a few feet lower. The whole range glistens in the afternoon sun, but it is the evening hour that brings such wonderful changes of colour over these great snowfields, and, after the sun is down, such a pale mother-of-pearl grey silhouetted against the purple sky.

The entrance into what we call the Alhambra is hidden away behind the unfinished Palace of Charles V. The low door admits us directly in the Patio de los Arrayanes, or court of the Myrtles. Running north and south it gets more sun than any other court of the Alhambra. What a revelation it is! In the centre is an oblong tank full of golden carp. The neatly kept myrtle hedges encircle this, reflected in the clear water they add refres.h.i.+ng charm to a first impression of the Moorish Palace. On the north rises the Torre de Comares, the approach to which is through a beautifully proportioned chamber, the roof of which was unfortunately destroyed by fire in 1890. The whole of the ground-floor of this tower is known as the Hall of the Amba.s.sadors. The monarch's throne occupied a s.p.a.ce opposite the entrance and it was here that the last meeting to consider the surrender was held by Boabdil. The elaborate domed roof of this magnificent chamber is of larch wood, but the semi-darkness prevents one realising to the full extent its beauties. From the windows, which almost form small rooms, so thick are the walls of the Tower of Comares, fine views over the roofs of the city and the Albaicin hill are obtained.

The Court of the Lions, so called from the central fountain upheld by marble representations of the kingly beast, is surrounded by a beautiful arcade. At either end this is thrown out, forming a couple of extremely elegant pavilions. Fairy columns support a ma.s.sive roof, the woodwork of which is carved with the pomegranate of Granada. Intricate fret-work is arranged to break the monotony of strong sunlight on a flat surface.

Arabesques and inscriptions, stamped with an iron mould on the wet clay, repeat themselves all round the frieze. Orange trees at one time adorned the court and cast gracious shade on its surface. The fountain threw up jets of splas.h.i.+ng water, the musical sound harmonising with the wonderful arrangement of light and shade. I tried to picture all this as I sat making my sketch, but even in April, though hot in the sun, I required an overcoat in the shadow, and I must own that the ever-present tourist with his kodak sadly disturbed all mental attempts at the reconstruction of Moorish life.

[Ill.u.s.tration: GRANADA. THE ALHAMBRA, COURT OF LIONS]

On the south side of the court is the hall of the Abencerrages, named after that n.o.ble family. The ma.s.sive wooden doors, which shut it off from the arcade, are of most beautiful design. The hall is rectangular and has a fine star-shaped stalact.i.te dome. The _azulejos_, or tiles, are the oldest that remain in the Alhambra. A pa.s.sage leads to what was once the Royal Sepulchral Chamber.

On the east side is the so-called Sala de la Justicia divided into several recesses and running the whole length of this portion of the court. The central recess was used by Ferdinand and Isabella when they held the first Ma.s.s after the surrender of the Moors. The chief interest of the Sala I found to be in a study of the paintings on the semicircular domed roofs. They portray the Moor of the period. The middle one, that in the chapel-recess, no doubt contains portraits of Granada's rulers in council. The other two represent hunting scenes and deeds of chivalry. It is supposed that the Koran forbids the delineation of any living thing. The Moor got over this difficulty by portraying animal life in as grotesque a manner as possible, or by employing foreign captives to do this for him. One theory of the origin of the Lion Fountain is that a captive Christian carved the lions and gave his best--or his worst--as the price of his liberation. Personally I think they are of Phoenician origin. Animals and birds in decoration reached the Moor from Persia, where from unknown ages they had always been employed in this way; and the Mosil style of hammered metal work is replete with this feature.

On the north side of the court lies the Room of the Two Sisters, with others opening out from it, which seems to point to the probability that this was the suite occupied by the Sultana herself. Moorish art has here reached its highest phase. The honeycomb roof contains nearly five thousand cells, all are different, yet all combine to form a marvellously symmetrical whole. Fancy ran free with the architect who piled one tiny cell upon another and on these supported a third. Pendant pyramids cl.u.s.ter everywhere and hang suspended apparently from nothing.