AT the extremity of the Court of the Lions, and contiguous to the
apartments occupied by the curate of the Alhamra, are three historical
paintings, fixed in the ceiling of a recess: they are finished with
a considerable degree of strength, and much stiffness prevails in
the figures and countenances.
Mr. Swinburne is of opinion, that they are not the work of a Moorish
artist, but were executed by some Spanish painter shortly after
the conquest of Granada: he rests his cOf!jecture chiefly on the
anathema denounced by the Koran against all representations of animated
beings. But it is well known that the Spanish-Arab Khalifs disregarded
this prohibition: the lions, which support the celebrated fountain
that bears their name , are a proof full in point; and, in addition
to this evidence, we know that one Khalif placed the statue of a
favourite mistress over the magnificent palace which he had erected
for her use; while others, in defiance of the Prophet's mandate,
caused their images to be stamped on their coins. There is, there
fore, every reason to believe that the paintillgs in question, are
really the work of an Arabian artist.
As to the subject of our plate, nothing certain is known; it forms
the larger half of olle of the paintings, and is evidently a tournament
or battle-piece; but on what occasion it took place, it were useless
to conjecture. It is, however, valuable, in common with the other
paintings, as shewing the costume of the Spanish Arabs, during the
zenith of the Mahometan Empire in Spain. |