The Picturesque Antiquities of Spain: Described in a series of letters, with illustrations representing Moorish palaces, cathedrals, and other monuments of art, contained in the cities of Burgos, Valladolid, Toledo, and Seville.Wells, Nathaniel Armstrong
Islamic
The Picturesque Antiquities of Spain: Described in a series of letters, with illustrations representing Moorish palaces, cathedrals, and other monuments of art, contained in the cities of Burgos, Valladolid, Toledo, and Seville.
The arches are supported by marble columns, or rather fragments of
columns,--all the mutilated antique trunks rummaged out of Italica. For
a shaft of insufficient length a piece is found of the dimensions
required to make up the deficiency, and placed on its top without mortar
or cement. Some of the capitals are extremely curious. Among them almost
every style may be traced, from the Hindoo to the Composite: but no one
is entire, nor matched with any part of the column it was originally
destined to adorn. Over this gallery is the open terrace, which
continues that of the palace side on the same level. The view extends in
all directions, including the gardens and the surrounding country; for
we are here at the extremity of the town. At the furthest end the
edifice widens, and forms an open saloon, surrounded with seats,
glittering with the bright hues of the _azulejos_.
From these terraces you look down on the portion of the garden in which
the royal arms are represented, formed with myrtle-hedges. Eagles,
lions, castellated towers,--all are accurately delineated. Myrtle-hedges
are also used in all parts of the gardens as borders to the walks. It is
a charming evening's occupation to wander through the different
enclosures of these gardens, which, although not very extensive, are
characterised by so much that is uncommon in their plan and ornaments,
that the lounger is never weary of them. Nor is the visible portion of
their attractions more curious than the hidden sources of amusement
and--ablution, by means of which an uninitiated wanderer over these
china-paved walks, may be unexpectedly, and more than necessarily
refreshed. By means of a handle, concealed--here in the lungs of some
bathing Diana in the recesses of her grotto--here in the hollow of a
harmless looking stone--an entire line of walk is instantaneously
converted into a stage of hydraulics--displaying to the spectator a long
line of embroidery, composed of thousands of silver threads sparkling in
the sunshine, as issuing from unseen apertures in the pavement they
cross each other at a height of a few feet from the ground, forming an
endless variety of graceful curves. Almost all the walks are sown with
these _burladores_, as they are termed.
A large portion of the grounds consists of an orange-grove, varied with
sweet lemon-trees. The trees are sufficiently near to each other to
afford universal shade, without being so thickly planted as to interfere
with the good-keeping of the grass, nor with the movement of promenading
parties. In the centre of this grove is a beautiful edifice,--a square
pavilion entirely faced, within and without, with the _azulejos_, with
the exception only of the roof. Around it is a colonnade of white
marble, enclosing a space raised two feet above the ground, and
surrounded by a seat of the same mosaic. The interior is occupied by a
table, surrounded with seats.
Public-domain text, read in full here on John Shaqi.
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