The Land of The Blessed Virgin; Sketches and Impressions in Andalusia Part 11

The women tell fortunes, or dance for the foreigner, or worse. It is a mere struggle for daily bread. I wondered whether in the spring-time the young men loved the maidens, or if they only coupled like the beasts. I saw one pair who seemed quite newly wed; for their scanty furniture was new and they were young. The man, short and squat, sat scowling, cross-legged on a chair, a cigarette between his lips. The woman was taller and not ill-made, a slattern; her hair fell dishevelled on her back and over her forehead; her dress was open, displaying the bosom; her ap.r.o.n was filthy. But when she smiled, asking for money, her teeth were white and regular, and her eyes flashed darkly. She was attractive in a heavy sensual fashion, attractive and at the same time horribly repellant: she was the sort of woman who might fetter a man to herself by some degrading, insuperable pa.s.sion, the true Carmen of the famous story whom a man might at once love and hate; so that though she dragged him to h.e.l.l in shame and in despair, he would never find the strength to free himself. But where among that b.a.s.t.a.r.d race was the splendid desire for freedom of their fathers, the love of the fresh air of heaven and the untrammeled life of the fields?

At first glance also the cathedral seemed devoid of charm. I suppose travellers seek emotions in the things they see, and often the more beautiful objects do not give the most vivid sensations. Painters complain that men of letters have written chiefly of second-rate pictures, but the literary sentiment is different from the artistic; and a masterpiece of Perugino may excite it less than a mediocre work of Guido Reni.

The cathedral of Granada is said by the excellent Fergusson to be the most noteworthy example in Europe of early Renaissance architecture; its proportions are evidently admirable, and it is designed and carried out according to all the canons of the art. 'Looking at its plan only,' he says, 'this is certainly one of the finest churches in Europe. It would be difficult to point out any other, in which the central aisle leads up to the dome, so well proportioned to its dimensions, and to the dignity of the high altar which stands under it.' But though I vaguely recognised these perfections, though the s.p.a.cing appeared fine and simple, and the columns had a certain majesty, I was left more than a little cold. The whitewash with which the interior is coated gives an unsympathetic impression, and the abundant light destroys that mystery which the poorest, gaudiest Spanish church almost invariably possesses.

In the _Capilla de los Reyes_ are the elaborate monuments of the Catholic Kings, of their daughter Joan the Mad, and of Philip her husband; below, in the crypt, are four simple coffins, in which after so much grandeur, so much joy and sorrow, they rest. Indeed, for the two poor women who loved without requite, it was a life of pain almost unrelieved: it is a pitiful story, for all its magnificence, of Joan with her fiery pa.s.sion for the handsome, faithless, worthless husband, and her mad jealousy; and of Isabella, with patient strength bearing every cross, always devoted to the man who tired of her quickly, and repaid her deep affection with naught but coldness and distrust.

Queen Isabella's sword and sceptre are shown in the sacristry, and in contrast with the implement of war a beautiful cope, worked with her royal hands. And her crown also may be seen, one of the few I have come across which might really become the wearer, of silver, a masterpiece of delicate craftsmanship.

But presently, returning to the cathedral and sitting in front of the high altar, I became at last conscious of its airy, restful grace. The chancel is very lofty. The base is a huge arcade which gives an effect of great lightness; and above are two rows of pictures, and still higher two rows of painted windows. The coloured gla.s.s throws the softest lights upon the altar and on the marble floor, rendering even quieter the low tints of the pictures. These are a series of ill.u.s.trations of the life of the Blessed Virgin, painted by Alonzo Cano, a native of Valladolid, who killed his wife and came to Granada, whereupon those in power made him a prebendary. In the obscurity I could not see the paintings, but divined soft and pleasant things after the style of Murillo, and doubtless that was better than actually to see them. The pulpits are gorgeously carved in wood, and from the walls fly great angels with fine turbulence of golden drapery. And in the contrast of the soft white stone with the gold, which not even the most critical taste could complain was too richly spread, there is a delicate, fascinating lightness: the chancel has almost an Italian gaiety, which comes upon one oddly in the gloomy town. Here the decoration, the gilded virgins, the elaborate carving, do not oppress as elsewhere; the effect is too debonair and too refreshing. It is one colour more, one more distinction, in the complexity of the religious sentiment.

But if what I have said of Granada seems cold, it is because I did not easily catch the spirit of the place. For when you merely observe and admire some view, and if industrious make a note of your impression, and then go home to luncheon, you are but a vulgar tripper, sc.u.m of the earth, deserving the ridicule with which the natives treat you. The romantic spirit is your only justification; when by the comeliness of your life or the beauty of your emotion you have attained that, (Sh.e.l.ley when he visited Paestum had it, but Theophile Gautier, flaunting his red waistcoat _tras los montes_, was perhaps no better than a Cook's tourist,) then you are no longer unworthy of the loveliness which it is your privilege to see. When the old red brick and the green trees say to you hidden things, and the _vega_ and the mountains are stretched before you with a new significance, when at last the white houses with their brown tiles, and the labouring donkey, and the peasant at his plough, appeal to you so as to make, as it were, an exquisite pattern on your soul, then you may begin to find excuses for yourself. But you may see places long and often before they are thus magically revealed to you, and for myself I caught the real emotion of Granada but once, when from the Generalife I looked over the valley, the Generalife in which are mingled perhaps more admirably than anywhere else in Andalusia all the charm of Arabic architecture, of running water, and of cypress trees, of purple flags and dark red roses. It is a spot, indeed, fit for the plaintive creatures of poets to sing their loves, for Paolo and Francesca, for Juliet and Romeo; and I am glad that there I enjoyed such an exquisite moment.

x.x.xIII

[Sidenote: The Alhambra]

From the church of _San Nicolas_, on the other side of the valley, the Alhambra, like all Moorish buildings externally very plain, with its red walls and low, tiled roofs, looks like some old charter-house. Encircled by the fresh green of the spring-time, it lies along the summit of the hill with an infinite, most simple grace, dun and brown and deep red; and from the sultry wall on which I sat the elm-trees and the poplars seemed very cool. Thirstily, after the long drought, the Darro, the Arab stream which ran scarlet with the blood of Moorish strife, wound its way over its stony bed among the hills; and beyond, in strange contrast with all the fertility, was the grey and silent grandeur of the Sierra Nevada. Few places can be more charming than the green wood in which stands the stronghold of the Moorish kings; the wind sighs among the topmost branches and all about is the sweet sound of running water; in spring the ground is carpeted with violets, and the heavy foliage gives an enchanting coldness. A ma.s.sive gateway, flanked by watch-towers, forms the approach; but the actual entrance, offering no hint of the incredible magnificence within, is an insignificant door.

But then, then you are immediately transported to a magic palace, existing in some uncertain age of fancy, which does not seem the work of human hands, but rather of Jin, an enchanted dwelling of seven lovely damsels. It is barely conceivable that historical persons inhabited such a place. At the same time it explains the wonderful civilisation of the Moors in Spain, with their fantastic battles, their songs and strange histories; and it brings the _Arabian Nights_ into the bounds of sober reality: after he has seen the Alhambra none can doubt the literal truth of the stories of Sinbad the Sailor and of Hasan of Ba.s.sorah.

From the terrace that overlooks the city you enter the Court of Myrtles--a long pool of water with goldfish swimming to and fro, enclosed by myrtle hedges. At the ends are arcades, borne by marble columns with capitals of surpa.s.sing beauty. It is very quiet and very restful; the placid water gives an indescribable sensation of delight, and at the end mirrors the slender columns and the decorated arches so that in reflection you see the entrance to a second palace, which is filled with mysterious, beautiful things. But in the Alhambra the imagination finds itself at last out of its depth, it cannot conjure up chambers more beautiful than the reality presents. It serves only to recall the old inhabitants to the deserted halls.

The Moors continually used inscriptions with great effect, and there is one in this court which surpa.s.ses all others in its oriental imagery, in praise of Mohammed V.: _Thou givest safety from the breeze to the blades of gra.s.s, and inspirest terror in the very stars of heaven. When the shining stars quiver, it is through dread of thee, and when the gra.s.s of the field bends down it is to give thee thanks._

But it is the Hall of the Amba.s.sadors which shows most fully the unparalleled splendour of Moorish decoration. It is a square room, very lofty, with alcoves on three sides, at the bottom of which are windows; and the walls are covered, from the dado of tiles to the roof, with the richest and most varied ornamentation. The Moorish workmen did not spare themselves nor economise their exuberant invention. One pattern follows another with infinite diversity. Even the alcoves, and there are nine, are covered each with different designs, so that the mind is bewildered by their graceful ingenuity. All kinds of geometrical figures are used, enlacing with graceful intricacy, intersecting, combining and dissolving; conventional foliage and fruit, Arabic inscriptions. An industrious person has counted more than one hundred and fifty patterns in the Hall of the Amba.s.sadors, impressed with iron moulds on the moist plaster of the walls. The roof is a low dome of larch wood, intricately carved and inlaid with ivory and with mother-of-pearl; it has been likened to the faceted surface of an elaborately cut gem. The effect is so gorgeous that you are oppressed; you long for some perfectly plain s.p.a.ce whereon to rest the eye; but every inch is covered.

Now the walls have preserved only delicate tints of red and blue, pale Wedgwood blues and faded terracottas, that make with the ivory of the plaster most exquisite harmonies; but to accord with the tiles, their brilliancy still undiminished, the colours must have been very bright.

The complicated patterns and the gay hues reproduce the oriental carpets of the nomad's tent; for from the tent, it is said, (I know not with what justification,) all oriental architecture is derived. The fragile columns upon which rest ma.s.ses of masonry are, therefore, direct imitations of tent-poles, and the stalact.i.te borders of the arches represent the fringe of the woven hangings. The Moorish architect paid no attention to the rules of architecture, and it has been well said that if they existed for him at all it was only that he might elaborately disregard them. His columns generally support nothing; his arcades, so delicately worked that they seem like carved ivory, are of the lightest wood and plaster.

And it is curious that there should be such durability in those dainty materials: they express well the fatalism of the luxurious Moor, to whom the past and future were as nothing, and the transient hour all in all; yet they have outlasted him and his conqueror. The Spaniard, inglorious and decayed, is now but the showman to this magnificence; time has seen his greatness come and go, as came and went the greatness of the Moor, but still, for all its fragility, the Alhambra stands hardly less beautiful. Travellers have always been astonished at the small size of the Alhambra, especially of the Court of Lions; for here, though the proportion is admirable the scale is tiny; and many have supposed that the Moors were of less imposing physique than modern Europeans. The Court is surrounded by exquisite little columns, singly, in twos, in threes, supporting horseshoe arches; and in the centre is that beautiful fountain, borne by twelve lions with bristly manes, standing very stiffly, whereon is the inscription: _O thou who beholdest these lions crouching, fear not. Life is wanting to enable them to show their fury._

Indeed, their surroundings have such a delicate and playful grace that it is hard to believe the Moors had any of our strenuous, latter-day pa.s.sions. Life must have been to them a masque rather than a tragi-comedy; and whether they belong to sober history or no, those contests of which the curious may read in the lively pages of Gines Perez de Hita accord excellently with the fanciful environment. In the Alhambra nothing seems more reasonable than those never-ending duels in which, for a lady's favour, gallant knights gave one another such blows that the air rang with them, such wounds that the ground was red with blood; but at sunset they separated and bound up their wounds and returned to the palace. And the king, at the relation of the adventure, was filled with amazement and with great content.

Yet, notwithstanding, I find in the Alhambra something unsatisfying; for many an inferior piece of architecture has set my mind a-working so that I have dreamed charming dreams, or seen vividly the life of other times.

But here, I know not why, my imagination helps me scarcely at all. The existence led within these gorgeous walls is too remote; there is but little to indicate the thoughts, the feelings, of these people, and one can take the Alhambra only as a thing of beauty, and despair to understand.

I know that it is useless to attempt with words to give an idea of these numerous chambers and courts. A string of superlatives can do no more than tire the reader, an exact description can only confuse; nor is the painter able to give more than a suggestion of the bewildering charm.

The effect is too emotional to be conveyed from man to man, and each must feel it for himself. Charles V. called him unhappy who had lost such treasure--_desgraciado el que tal perdio_--and showed his own appreciation by demolishing a part to build a Renaissance palace for himself! It appears that kings have not received from heaven with their right divine to govern wrong the inestimable gift of good taste; and for them possibly it is fortunate, since when, perchance, a sovereign has the artistic temperament, a discerning people--cuts off his head.

x.x.xIV

[Sidenote: Boabdil the Unlucky]

He was indeed unhappy who lost such treasure. The plain of Granada smiles with luxuriant crops, a beautiful country, gay with a hundred colours, and in summer when the corn is ripe it burns with vivid gold.

The sun shines with fiery rays from the blue sky, and from the snow-capped mountains cool breezes temper the heat.

But from his cradle Boabdil was unfortunate; soothsayers prophesied that his reign would see the downfall of the Moorish power, and his every step tended to that end. Never in human existence was more evident the mysterious power of the three sisters, the daughters of Night; the Fates had spun his destiny, they placed the pitfalls before his feet and closed his eyes that he might not see; they hid from him the way of escape. _Allah Achbar!_ It was destiny. In no other way can be explained the madness which sped the victims of that tragedy to their ruin; for with the enemy at their very gates, the Muslims set up and displaced kings, plotted and counterplotted. Boabdil was twice deposed and twice regained the throne. Even when the Christian kingdoms had united to consume the remnant of Moorish sovereignty the Moors could not cease their quarrelling. Boabdil looked on with satisfaction while the territory of the rival claimant to his crown was wrested from him, and did not understand that his turn must inevitably follow. Verily, the G.o.ds, wishing to destroy him, had deranged his mind. It is a pitiful history of treachery and folly that was enacted while the Catholic Sovereigns devoured the pomegranate, seed by seed.

To me history, with its hopes bound to be frustrated and its useless efforts, sometimes is so terrible that I can hardly read. I feel myself like one who lives, knowing the inevitable future, and yet is powerless to help. I see the acts of the poor human puppets, and know the disaster that must follow. I wonder if the Calvinists ever realised the agony of that dark G.o.d of theirs, omniscient and yet so strangely weak, to whom the eternal majesty of heaven was insufficient to save the predestined from everlasting death.

On March 22, 1491, began the last siege of Granada.

Ferdinand marched his army into the plain and began to destroy the crops, taking one by one the surrounding towns. He made no attempt upon the city itself, and hostilities were confined to skirmishes beneath the walls and single combats between Christian knights and Muslim cavaliers, wherein on either side prodigies of valour were performed. Through the summer the Moors were able to get provisions from the Sierra Nevada, but when, with winter, the produce of the earth grew less and its conveyance more difficult, famine began to make itself felt. The Moors consoled themselves with the hope that the besieging army would retire with the cold weather, for such in those days was the rule of warfare; but Ferdinand was in earnest. When an accidental fire burned his camp, he built him a town of solid stone and mortar, which he named Santa Fe. It stands still, the only town in Spain wherein a Moorish foot has never trod. Then the Muslims understood at last that the Spaniard would never again leave that fruitful land.

And presently they began to talk of surrender; Spanish gold worked its way with Boabdil's councillors, and before winter was out the capitulation was signed.

On the second day of the new year the final scene of the tragedy was acted. Early in the morning, before break of day, Boabdil had sent his mother and his wife with the treasure to precede him to the Alpuxarras, in which district, by the conditions of the treaty, Ferdinand had a.s.signed him a little kingdom. Himself had one more duty to perform, and at the prearranged hour he sallied forth with a wretched escort of fifty knights. On the Spanish side the night had been spent in joy and feasting; but how must Boabdil have spent his, thinking of the inevitable morrow? To him the hours must have sped like minutes. What must have been the agony of his last look at the Alhambra, that jewel of incalculable price? Mendoza, the cardinal, had been sent forward to occupy the palace, and Boabdil pa.s.sed him on the hill.

Soon he reached Ferdinand, who was stationed near a mosque surrounded by all the glory of his Court, pennons flying, and knights in their magnificent array. Boabdil would have thrown himself from his horse in sign of homage to kiss the hand of the king of Arragon, but Ferdinand prevented him. Then Boabdil delivered the keys of the Alhambra to the victor, saying: 'They are thine, O king, since Allah so decrees it; use thy success with clemency and moderation.' Moving on sadly he saluted Isabella, and pa.s.sed to rejoin his family; the Christians processioned to the city with psalm-singing.

But when Boabdil was crossing the mountains he turned to look at the city he had lost, and burst into tears.

'You do well,' said his mother, 'to weep like a woman for what you could not defend like a man.'

'Alas!' he cried, 'when were woes ever equal to mine?'

It was not to be expected that the pious Kings of Castille and Arragon would keep their word, and means were soon invented to hound the wretched Boabdil from the princ.i.p.ality they had granted. He crossed to Africa, and settled in Fez, of which the Sultan was his kinsman. It is pathetic to learn that there he built himself a palace in imitation of the Alhambra. At last, after many years, he was killed in an obscure battle fighting against the Sultan's rebels, and the Arab historian finishes the account of him with these words: 'Wretched man! who could lose his life in another's cause, though he dared not die in his own!

Such was the immutable decree of destiny. Blessed be Allah, who exalteth and abaseth the kings of the earth according to His divine will, in the fulfilment of which consists that eternal justice which regulates all human affairs.'

In the day of El Makkary, the historian of the Moorish Empire, Boabdil's descendants had so fallen that they were nothing but common beggars, subsisting upon the charitable allowances made to the poor from the funds of the mosques.

_One generation pa.s.seth away and another generation cometh: but the earth abideth for ever._

x.x.xV

[Sidenote: Los Pobres]

People say that in Granada the beggars are more importunate than in any other Spanish town, but throughout Andalusia their pertinacity and number are amazing. They are licensed by the State, and the bra.s.s badge they wear makes them demand alms almost as a right. It is curious to find that the Spaniard, who is by no means a charitable being, gives very often to beggars--perhaps from superst.i.tious motives, thinking their prayers will be of service, or fearing the evil eye, which may punish a refusal. Begging is quite an honourable profession in Spain; mendicants are charitably termed the poor, and not besmirched, as in England, with an opprobrious name.