Tile designs are often very elegant; and although they somewhat intricate at first, upon closer examination it be found that they are composed of simple parts as s.a.ply put together, and yet they produce a great variety of tasteful patterns, in which the star is not unfrequently a prominent figure. The same w ill apply to this latticework, as to the geometrical arabesques. A similar method of interlaced work, is not 'infrequently to be seen in their pierced parapets, w hieh were common in the edifices of the East.
The floors, and sometimes a portion of their walls, were inlaid with mosaic work, disposed in various patterns. in which the interlacing band again makes its appearance, and with like success. The roofs arc often cotliTed or recessed in panels in a very peculiar manner, %%bleb gives to them very much the appearance of a honeycomb ; sometimes also they are covered with pendants, in such a way as to realize the idea ofstalactite caverns. A very beautiful method of lighting their baths from the roof, has been noticed and extolled by almost every traveller ; small star-shaped aper tures are cut in a sloping direction through the roof, and while their form delights by its beauty and propriety, they admit only a subdued degree of light.
On the whole. when we consider the fantastic form of the arches, the slender proportions of their columns. the infinite variety and profuseness of their decorations, and remember that the entire edifice was enriched with the most brilliant colouring, it must be confessed that it would be difficult to picture it more \ iVid realization of our notions of fairyland, than is presented to us by such a description.
Notwithstanding, however, the gorgeousness of their interiors, the Arabs. of Spain especially, paid little attention to external decoration. The exterior of their edifices is de cidedly plain, sometimes approaching to rudeness, frequently composed of irregular masses of scattered buildings, w it bout symmetry, or any attempt at ornament, and to be admired only tb• their bold outline and picturesque effect. One cir cumstance which adds to their heavy, massi, e appearance, arises from their custom of lighting their halls from the interior courts, so as to escape as much as possible the heat of the sun.
Their mosques and other buildings in the East presented a less rude exterior, the outline broken up and varied by the numerous domes and minarets, the lofty and slender fornis of the latter limning a picturesque contrast with the swelling curves of the former. These minarets are
circular towers. elevated above the rest of the building, with projecting galleries round the upper part, whence the imaum called to prayer ; they are usually enriched with a profusion ofdelieate fret-work. N any mosques were covered with a mul titude of domes, one principal one being larger than the others which surrounded it. The walls too are more enriched than those of the buildings in the West. and altogether the exteriors were of a much lighter and elegant description. See MosQuE.
M. Laborde, in his voyage "Pittoresque de l'Espagne," divides Arabian architecture of Spain into three distinct chronological periods: the first of which dates froth the establishment of Islamism to the ninth century ; the second from the ninth to the thirteenth century ; and the last, from that period to the decline of Mohammedan influence in Spain. The mosque of Cordova has been selected as the most apt type of the first period : a building which bears :t close resemblance to the later works of the Ulimans, the plan corresponding in many respects with the oldest churches in Roine, and the materials being either procured or coarsely imitated from the Baschtine, w rich had been previously erected in Spain by the Romans.
lu the second period, we see a considerable advance in elegance, of which the palace of the Alhambra presents a favourable example. In this period, most of the tiaces the Byzantine sty le disappear, and the new style is seen in a state of perfect development ; indeed, the examples of this date are of greater beauty, and more correct taste, than those either preceding or following it.
The third period shows a decline in art. and its exam ples exhibit a mixture with1 t3e style then prevalent in and which was spreading itscif throughout Europe. N. Laborde found specimens of tins style in the fortresses of I1en•vente, Coldesillas. Segovia, and Seville. At this date the plans continued much the same as befirre, but ornaments began to be employed, and Corinthian columns are frequently seen supporting Noorish arches. The restrictions also respecting the tepresentation of living figures begin: to be less strictly adhered to.