An Architect's Note-Book in Spain: principally illustrating the domestic architecture of that country.Wyatt, M. Digby (Matthew Digby), Sir
History
An Architect's Note-Book in Spain: principally illustrating the domestic architecture of that country.
Wyatt, M. Digby (Matthew Digby), Sir
Architecture -- Spain
First, with respect to its plan. This, so far as the passage way from
gate to gate (carried between walls of great thickness and massive
construction) is concerned, assumes the form of two letters L placed in
contact with one another, thus,
__ B
| __|
A ,
the gate of entry from without being at A, and the gate of exit at B.
The consequence is that no assailant entering from A can form any idea
of what preparations for resistance may exist in the interior of the
gateway. Neither can he gain anything by a rush, as the impetus of any
attack would be broken by the necessities of having to stop, turn round
and start in another direction for too short a distance, before having
to check and turn again, to acquire any momentum or "élan." Even after
fighting his way from gate to gate, the assailant would only find
himself in a narrow gallery between high walls and upper platforms
through which it would be most difficult to advance, exposed to missiles
from every direction. While attacking the outer gate and intermediate
obstacles, the besieger would, of course, be liable to the amenities of
molten lead, &c., from the upper chambers of the Gateway.
Secondly, with respect to the beauty of the coloured tiles. These are
unlike, both in colour and texture, as well as I could see, any other
tiles existing in the Alhambra, or any left at Cordova, Seville or
Toledo. My impression is, that they may have been a present from
Damascus, Cairo, or from Persia proper. The peculiar deep granulated
blue which is conspicuous in them, I have only seen in fragments from
ancient Mosques, which have been brought from the East. The mode of
manufacture is not that either of the usual Moorish and Spanish
Azulejos, with raised outlines forming compartments for the separate
colours; nor is it like that of the Majorca tiles and dishes, and the
usual flat tiles of the Alhambra, which, with their fine white surfaces
for painting on, formed the basis of Majolica. It is, however, quite
like that of the half-encaustic, half-painted tiles of the early
Mahommedan buildings in India, Persia, and especially Arabia proper.
A long inscription occurs in two lines over the inner gateway, towards
the exterior. The following is from the translation of the distinguished
Arabic student and historian, Don Pasqual de Gayangos.
"This gate, called Bábu-sh-shari'ah (the Gate of the Law)--may God
prosper through it the law of Islám, and He made this a lasting monument
of His glory--was built at the command of our Lord, the Commander of the
Moslems, the warlike and just Sultan Abú-l-walid Ibu Naor, (may God
remunerate his good deeds in the observance of religion, and accept of
his valorous performances in support of the faith). And it was closed
for the first time in the glorious month of the birth of our Prophet, in
the year 749. May the Almighty make this gate a protecting bulwark, and
write down its erection among the imperishable actions of the Just."
Public-domain text, read in full here on John Shaqi.
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