To go from Seville to Granada is like coming out of the sunshine into deep shadow. I arrived, my mind full of Moorish pictures, expecting to find a vivid, tumultuous life; and I was ready with a prodigal hand to dash on the colours of my admiration. But Granada is a sad town, grey and empty; its people meander, melancholy, through the streets, unoccupied. It is a tradeless place living on the monuments which attract strangers, and like many a city famous for stirring history, seems utterly exhausted. Granada gave me an impression that it wished merely to be left alone to drag out its remaining days in peace, away from the advance of civilisation and the fervid hurrying of progress: it seemed like a great adventuress retired from the world after a life of vicissitude, anxious only to be forgotten, and after so much storm and stress to be nothing more than pious. There must be many descendants of the Moors, but the present population is wan and lifeless. They are taciturn, sombre folk, with nothing in them of the chattering and vivacious creatures of Arab history. Indeed, as I wandered through the streets, it was not the Moors that engaged my mind, but rather Ferdinand of Arragon and Isabella of Castille. Their grim strength over-powered the more graceful shadows of Moordom; and it was only by an effort that I recalled Gazul and Musa, most gallant and amorous of Paynim knights, tilting in the square, displaying incredible valour in the slaughter of savage bulls. I thought of the Catholic Kings, in full armour, riding with clank of steel through the captured streets. And the snowy summits of the Sierra Nevada, dazzling sometimes under the sun and the blue sky, but more often veiled with mist and capped by heavy clouds, grim and terrifying, lent a sort of tragic interest to the scene; so that I felt those grey masses, with their cloak of white, (they seemed near enough to overwhelm one,) made it impossible for the town built at their very feet, to give itself over altogether to flippancy.
And for a while I found little of interest in Granada but the Alhambra. The gipsy quarter, with neither beauty, colour, nor even a touch of barbarism, is a squalid, brutal place, consisting of little dens built in the rock of the mountain which stands opposite the Alhambra. Worse than hovels, they are the lairs of wild beasts, foetid and oppressive, inhabited by debased creatures, with the low forehead, the copper skin, and the shifty cruel look of the Spanish gipsy. They surround the visitor in their rags and tatters, clamouring for alms, and for exorbitant sums proposing to dance. Even in the slums of great cities I have not seen a life more bestial. I tried to imagine what sort of existence these people led. In the old days the rock-dwellings among the cactus served the gipsies for winter quarters only, and when the spring came they set off, scouring the country for something to earn or steal; but that is long ago. For two generations they have remained in these hovels--year in, year out--employed in shoeing horses, shearing, and the like menial occupations which the Spaniard thinks beneath his dignity. 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 apron 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 passion, the true Carmen of the famous story whom a man might at once love and hate; so that though she dragged him to hell in shame and in despair, he would never find the strength to free himself. But where among that bastard 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 spacing 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 passion 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 glass 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 illustrations 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, scum 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, (Shelley when he visited Paestum had it, but Théophile 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.
Sorry, no summary available yet.