Characteristics of dlloorish character of this archi tecture, notwithstanding its lavish richness, is not lacking in proportion; for, fanciful and sportive though the forms are, there is yet full harMony in the whole. Solemnity and the impressiveness of a monumental struc ture are certainly lacking; tectonic ideas are also but slightly expressed. It is a lovely play of forms, but a play only. As a fairy-tale is a play of the fancy calculated to excite for a moment, so also are the rooms of the Alhambra a fairy-land which forbids us to look at reality—cool shadows and vistas of sunlighted spaces; the ripple of fountains, the odor of flowers, and the twittering of birds; light and graceful architectural forms which seem not built, but only dreamed; the elegant play of geometrical ornamentation which, without wearying the spirit, invites to perpetual musing; an ornamentation which captivates the eye and compels it to follow lines that cross and interlace in all directions; a wealth of the gayest and most glowing colors like gold and precious stones magically interwoven and blending as harmoniously as the tones of music.
What can be more attractive than such architecture, which carries back the thought to the variegated tapestries and carved poles of the outspread tent under which the nomad, when after long wanderings through the waste he has found rest in a blooming oasis, listens to the wizard, and, following the witchery, forgets the real in the contemplation of the treasures spread out before him? The vision of the enchanter, the magic castle of the wizard, is the Alhambra—a place made purposely for oblivion of the world's reality. In this lies its weakness. Though by long gazing fancy may build a magic realm, who would desire to pass his clays under the power of its enchantment ? Grandeur and earnestness of pur pose have their right and their beauty both in life and in Architecture.
Other epochs show that a well-constructed edifice which brings the function of every individual part before the eyes displays a higher, nobler, and more intense beauty—a beauty that, while it is in correspondence with actual human life, gives more enduring satisfaction while it per petually enchants. Eternal is that enchantment only which charms and overpowers when new, and which after long years may still be shown as such, just as truth itself can be perpetually endured.
Moorish Art in Africa.—Though the African Moors had become the possessors of Mohammedan Spain, it was not Moorish but Arabian archi tects who constructed their monuments, even until Moorish rule came to an end, in the fifteenth century, and the Moors were completely driven out of Spain. The African rulers took Spanish architects into their
native land, where they reared important structures similar to those of Spain, though perhaps not so fanciful. Thus, Jacob-al-MansUr erected at Morocco at the close of the twelfth century a mosque the minaret of which is said to have been a perfect copy of the Giralda at Seville and to have been the work of the same architect. When, at the commencement of the thirteenth century, the splendor of Morocco had been transferred to Tunis, Andalusian architects also went there and erected important works.
Mohammedan Art in India.—The sway of Islam was not solely extended westward: Mohammedan hosts passed even into India, and at the close of the twelfth century founded an empire which soon surpassed in splendor all others, whether Mohammedan or Christian. Delhi, the capital—the " Envy of the World "—was filled with magnificent struc tures of all kinds. It reached the climax of its glory under the Taghlaks (r321–r39S), the last of whom was overthrown by Timour (Tamerlane), whose Mongolian hordes so thoroughly destroyed the city that it never recovered. The dimensions and the splendor of these structures generally surpassed those of other Mohammedan lands.
A'utab-illinar.—The peculiar conical tower which stands among the ruins of Old Delhi is believed to be the oldest of the Mohammedan mon uments of India. This, rising from a star-shaped ground-plan and dimin ishing to the summit, bears the name of Kntab-Minar (pi. 21, fig. r). Near this tower are the remains of an extensive mosque.
We have before endeavored to explain the status of Hindu art at that period; certain elements derived from it naturally mingled with Mohammedan art. It may even be that older Hindu buildings were altered to suit their new occupants. This mosque has an extensive court enclosing a second smaller court, each surrounded by arcades. Some por tions have large capstones upon square pillars, and horizontal lintels upon these. Other parts have pointed arches reverse-curved; yet these likewise are constructed by corbelling in Hindu fashion. Cupolas are also employed. These monuments are attributed to the twelfth or thir teenth century, but this certainly needs careful verification, since, though here, as elsewhere, later additions may have crept in which have altered their character, it does not follow that the original portions are to be referred to so early a date.