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.
An interior tower, rather more than twenty feet square, runs up the
whole height of the Moorish portion of the building; between which and
the external walls an easy ascent is contrived on an inclined plane. The
necessity of introducing light throughout the ascent accounts for the
different elevation of the windows and ornaments of the different sides;
but the architect has so managed this difficulty, that no bad effect is
produced in the external view. At the lower part of the tower the ascent
is sufficiently wide to admit of the passage of two men on horseback
abreast; but it becomes narrower as it approaches the summit. Queen
Christina is said to have been drawn up in a small carriage. The walls,
both of the inner and outer tower, increase in thickness as they rise,
and as the ascending plane decreases in width: a plan which appears
opposed to the principle usually adopted by modern architects.
It is known that Geber was the architect of the Giralda, but no
certainty exists respecting its date. The Spanish antiquarian Don
Rodrigo Caro supposes it to have been erected during the reign of
Benabet Almucamus, King of Seville, shortly before the appearance in
Spain of the Almoravides; but this is no more than a conjecture, founded
on the supposed wealth of that King, who possessed larger states than
his successors, and who paid no tribute to the sovereigns of Castile.
Immediately over the highest story of the Moorish tower is the belfry.
The bells are suspended on the centre of revolving beams, which traverse
the open arches of the four faces of the tower. They are consequently in
full view, as they throw their somersets and send forth their lively
clatter on a _dia de fiesta_.
Their effect is very original, and as unlike as possible to the
monotonous and melancholy cadence of an English peal. None of them are
deep-toned nor solemn, but all high and sharp: so that being let loose
in merry disorder, and without tune, they somehow appear to harmonize
with the brilliant skies, just as the descending ding-dong in England
suits the gloom of the northern heavens. Leave Seville, and never shall
their tones steal on your memory without your being transported into a
blaze of bright sunshine.
Public-domain text, read in full here on John Shaqi.
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