As we wended our way back to the Alhambra, Mateo was in high glee and garrulous vein. “Ah, Señor,” exclaimed he, “there is no place in all the world like Granada for grand ceremonies (_funciones grandes_); a man need spend nothing on pleasure here, it is all furnished him gratis.” Pero, el dia de la Toma! Ah, Señor! el dia de la Toma! “But the day of the Taking! ah, Señor the day of the Taking!”--that was the great day which crowned Mateo’s notions of perfect felicity. The Dia de la Toma, I found, was the anniversary of the capture or taking possession of Granada by the army of Ferdinand and Isabella. On that day, according to Mateo, the whole city is abandoned to revelry. The great alarm-bell on the watch-tower of the Alhambra (_la Torre de la vela_) sends forth its clanging peals from morn till night; the sound pervades the whole Vega, and echoes along the mountains, summoning the peasantry from far and near to the festivities of the metropolis. “Happy the damsel,” says Mateo, “who can get a chance to ring that bell; it is a charm to insure a husband within the year.” Throughout the day the Alhambra is thrown open to the public. Its halls and courts, where the Moorish monarchs once held sway, resound with the guitar and castanet, and gay groups, in the fanciful dresses of Andalusia, perform their traditional dances inherited from the Moors. A grand procession, emblematic of the taking possession of the city, moves through the principal streets. The banner of Ferdinand and Isabella, that precious relic of the Conquest, is brought forth from its depository, and borne in triumph by the Alferez mayor, or grand standard-bearer. The portable camp-altar, carried about with the sovereigns in all their campaigns, is transported into the chapel royal of the cathedral, and placed before their sepulchre, where their effigies lie in monumental marble. High mass is then performed in memory of the Conquest; and at a certain part of the ceremony the Alferez mayor puts on his hat, and waves the standard above the tomb of the conquerors. A more whimsical memorial of the Conquest is exhibited in the evening at the theatre. A popular drama is performed, entitled AVE MARIA, turning on a famous achievement of Hernando del Pulgar, surnamed “el de las Hazañas” (he of the exploits), a madcap warrior, the favorite hero of the populace of Granada. During the time of the siege, the young Moorish and Spanish cavaliers vied with each other in extravagant bravadoes. On one occasion this Hernando del Pulgar, at the head of a handful of followers, made a dash into Granada in the dead of the night, nailed the inscription of AVE MARIA with his dagger to the gate of the principal mosque, a token of having consecrated it to the Virgin, and effected his retreat in safety.[15]