Pv Wes *O fw hersAga OVS PhS ae 1° Prayhou any) wren wea ILDRED STAPLEY BYNE ARTHURBYNE | f a id . ‘ ‘ 1 j L ; ‘ \ t i * . ' ‘ ‘ ‘ ¥ a ; . » Me k : : : x ? i x oe ” ~~ a ~ . * , 7 ’ - 4 t ’ ‘ > . | —— —* ‘ 5 - . ; 5 ’ np * a , i ~ ‘ ‘ é . y ) % } ; h ‘ F ‘ ‘ ——— _ SPANISH GARDENS fe AND PATIOS — — foaret ao Uniform With This Volume VILLAS OF FLORENCE AND TUSCANY BY HAROLD DONALDSON EBERLEIN 300 Photographic Illustrations of the finest examples of Italian villas taken by the author and from angles that show them to the best advantage. “To its every reader, whether merely a lover of history and of the beautiful, or learned in the art of architecture, this volume of superb format and superb illustration will give a rare delight. More, it will enlarge immeasurably the individual point of view. For the villas selected for study, through historical association, plans, photographs and care- fully detailed description, have each some archi- tectural characteristic distinct from all the others, and each is analyzed and illustrated from every point of view. Particularly significant today is a well-ordered story of the architecture of the Florentine and Tuscan villas.” —Bosion Transcript. GARDEN VISTA, CASA DEL REY MORO, RONDA Now the villa of the Duquesa de Parcent SPANISH GARDENS AND PATIOS IELOSTRATED WITH 175 EXAMPLES 4 PLATES IN COLOUR BY MILDRED STAPLEY BYNE AND ARTHUR BYNE CORRESPONDING MEMBERS OF THE HISPANIC SOCIETY OF AMERICA; AUTHORS OF “SPANISH IRONWORK, “SPANISH ARCHITECTURE OF THE XVI CENTURY,” “SPANISH INTERIORS AND FURNITURE,” ETC. PHILADELPHIA t? LONDON JeB. LIPPINCOTT COMPANY NEW YORK THE ARCHITECTURAL RECORD 1928 a COPYRIGHT, 1923, 1924, BY F. W. DODGE CORPORATICN ADDITIONS COPYRIGHT, I924, BY J. B. LIPPINCOTT COMPA ‘ ; eax met PRINTED BY J. 3. LIPP! AT THE WASHINGTON ‘TO THOSE SPANIARDS WHO | Pia KINDY OPENED THEIR ; | _ GARDENS FOR STUDY AND _ SKETCHING, THE AUTHORS _ WISH TO EXPRESS THEIR pees "GRATITUDE | t Jn ‘ << FOREWORD N PRESENTING this account of Spanish gardens it is hoped that their unusual features may attract in a practical way those who ought to have a large community of interest with the country that first carried civilization and culture to the New World. The true Spanish garden is of Asiatic derivation; it harks back to Persia during her splendour under the Sassanids—the garden the Arabs found there when they conquered her. ‘The Moors who made gardens in Spain, after it too had been added to the Mohammedan conquests, were no artless children of nature; their Moslem tradition was one of order, science, everything prearranged. A garden was not a walled-off piece of cultivated ground ; it was a man-made design that per- mitted nature to play a small part, nothing more. It was a fundamentally artificial production, emphasis being laid on man’s, not on nature’s contribution. And man’s chief contribution was glazed polychrome tiles. These even more than the scant use of flowers make the Spanish garden unlike others of Europe. They are above all else the legacy that the Arabs and Moors left in the architecture of the Iberian Peninsula. Let no one dream of possessing a Spanish garden or patio who is hostile to their use on a generous scale. Nor must the old-fashioned lover of flowers—our proper English heritage—expect to reconcile this with the Spanish design. It is of green he must think, 9 IO FOREWORD especially of odorous green, and look to tiles, not to bloom, for his colour note. This briefly is the theory of the Spanish garden. If Southern Spain receives all our attention in these chapters, it is because elsewhere in Spain gardens follow the general European tradition and so are not distinctive or to be accounted as truly Spanish gardens. In this subjeét, as in all phases of Spanish art, we have on the one hand the influence of Europe and Christians, on the other, of Asia and Mohammedans. Arab civilization dominated in the south from the opening of the eighth century to the close of the fifteenth. When the Christians reconquered Cordova and Seville (1236 and 1248), and Granada (1492), they kept the Moorish artisan class and thus preserved the firmly implanted oriental tradition in the induStrial arts. Domestic architecture and gardens, both so admi- rably adapted to the Andalusian climate, were modified slightly but not changed. The cool white house with its open patio, the small garden made for the master’s delectation and not for the entertainment of his friends, were admirably suited to the reserved and exclusive character of the incoming Spaniards. Patios are included because, being at the same time an indoor garden and an outdoor salon, they illustrate the Moorish intent to draw outdoors indoors—to have no sharp contrast between these two settings of the daily life. The only garden of dwellers in cities, it puts our small city yards to shame. ‘‘ The patio,’’ wrote Theophile Gautier, FOREWORD II who made its acquaintance in 1840, “is a delightful invention.” In truth it is much more; it is a very practical solution for house planning and a unit that offers great decorative possibilities. A few old Andalusian cloisters are given because they represent the sort of arcade and court that served as prototype for the early missions built by Spanish priests and monks in America. ‘The monastery having always been and Still being a very prominent factor in Spanish life, it is no exaggeration to say that without the cloister no collection of Spanish gardens and _ patios would be complete. A word as to the illustrations offered. Graphically a book on any phase of Spanish art, except painting, must be inadequate unless the author be prepared to act as photographer and draughtsman as well. Outside of Catalonia no group of inveStigators has appointed a competent photographer to record the artistic wealth of its region and fo put such photographs within reach of students. If great architectural monuments have not received this merited attention, how much less have old gardens. The only exception to this general observation would be the perfectly obvious views sold to tourists in Seville and Granada. This neglect of graphic record has always existed. In presenting Spanish gardens it would be a pleasure to show, as might a garden book dealing with any other country, some charming old plates engraved in the eighteenth century ; but, unfortunately, Spanish archives 12 FOREWORD yield no such material. When the art of engraving was at its height, Spaniards, from whom much might have been expected, made no effort to contribute. At a time when Falda, Silvestre, Scherm, Rigaud, Sutton Nichols, to mention only a few of the most important in their class, were making magnificent plates of the great gardens of Italy, France, The Low- lands, and England, nothing was produced in Spain but a few engravings of the Escorial and La Granja. True that in Andalusia many of the best Moorish gardens disappeared along with much else that was oriental soon after the Christian conquest; yet as late as the seventeenth and eighteenth centuries there still exiSted sufficient to repay the limner had he been interested. In the Netherlands, for inStance, we read that it was the ambition of every one who owned a fine garden to have it engraved. In Spain only royalty, and very occasionally at that, shared thisambition. Indeed, even in the case of a royal and important garden like that of the Alcazar at Seville no sketch or plan can be encountered in the Casgtle’s archives. Our illustrations therefore—photographs, sketches, and plans—had to be made first-hand. In place of the charm of old engravings we can offer only modern accu- racy and applicability. Nor can a bibliography be offered to those who might like to pursue the subject further; until now nothing more than slight sketchy chapters here and there has been written. Certain books of horticultural FOREWORD 13 and geoponic nature prepared by Spanish Arabs have been translated, but these, with one remarkable excep- tion, are literary curiosities rather than practical helps. The exception referred to is by the Arab author Abuzacaria, whose work has just been translated by the distinguished Arabist Don José A. Sanchez Pérez. Abuzacaria, who lived in the middle of the twelfth century, had extensive farms and gardens in Aljarafe, Sevilla. He wrote all his personal observations and experiments, beside making: a résumé of all the agro- nomic science known up to his time. For the Moham- medan world his book was law in agricultural matters. An earlier Spanish translation was made (1802), and a French (1864), but copies are now so rare as to be beyond price. Paseo de la Castellana 19 MapbrRID MARBLE TROUGH, PALACE OF THE MARQUES DE PENAFLOR ECIJA CONTENTS PAGE UPA Seyler ns Bic 2 OCS Se aces Sea eee Salen ae ana 7 PART I ANDALUSIA CHAPTER I. CHARACTERISTICS AND TYPES OF SPANISH te re ae re rd 2 MMR DE WeCLCCESSORIFS: 5. 2.055.0 0 ov vk cesses 67 III. Patios or Corpova, SEVILLE AND GRANADA... 93 IV. THe Garvpens “Det Rey Moro,” Ronpa, AND Las ErMITAS, SIERRA DE CorRDOVA....... I19 Wee (SP NERALIFE, (GRANADA... 2.0. cee ete ee I4I VI. THe ALHAMBRA AND THE Acosta GARDEN, Vs ELISE TORS 2 RD Te a ie 163 Pete Ee ALCAZAR (GARDENS; SEVILLE. .«........+- 189 VIII. GarpeEN or THE DUKE oF MEDINACELI AND GARDEN OF THE DUKE oF ALVA, SEVILLE . 2II IX. Some GARDENS OF SEVILLE AND CORDOVA..... 239 Parque de Maria Luisa, Seville; El Jardin de Murillo, Seville; El Museo Provincial, Seville; Number 8, Guzman el Bueno, Seville; Garden of the Marques de Viana, Cordova PART II I. Typicat Parios AND GARDENS OF Majorca... 267 NE Nn ee ee aah ghee ahd a le ee 5 301 LIST OF ILLUSTRATIONS COLOUR-PLATES GarpEN Vista, Casa DEL Rey Moro, Ronpa........... Frontts piece To*Face Pace A Group oF SEVENTEENTH CENTURY ANDALUSIAN TILES....... 68 eee e 1A MERCED, SEVILLA, . 2.02.2. vee ee ee eee 240 MERLE ET, DAY OF PAGUMA.,. 2700. c esse ee ce ee ances 268 HALF-TONES Marsie Troucu, PALACE oF THE MARQUES DE PENAFLOR, Ecija 14 Me CPACE OEVILLE = fe oot ee ee 29 (SARDENS OF THE GENERALIFE. Brick Stair—CAasE.......... 30 GARDENS OF THE GENERALIFE. Upper PARTERRE........... a GARDEN OF House IN THE PLaza DEL ALFARO, SEVILLE ..... 31 GarpEen oF Don Micuet Sancuez Datp, SEVILLE........... 32 ieeyeor DON |OsrE AcosTA, GRANADA ................... 33 Ser THE UNIVERSITY, DEVILLE: ....-.. 0.020.020 ee eee 34 AucazAR GARDENS. ReEcEsseD OPENINGS IN GARDEN WALLS... 35 ALcAZAR GARDENS. STAIRS OF PoLYCHROME TILES.......... 36 MemereercrRDENS. CYPRESS ARCH. .......002...00-20000%- 4I Las ERMITAS, SIERRA DE Corpova. Cypress ARCH......... 42 THe VIANA GARDENS. GoTHic ARCADE OF CEDAR .......... 43 Seven NAS (GARDENS. WALL OPENINGS ................6..- 44 Meee eee VviARiA [uiskA. Cypress ARCADE................ 45 MemeereeeeeRIZAPA, CORDOVA... . 0.22506. eee eae 46 AucazaR GARDENS. MANNER oF PLantinG aT BasE oF WALL 47 AucazAR GARDENS. Brick Pata Lerapinc To PavILion oF EY Pee ee ee ee av ee 48 Aucazar GARDENS. WALLED ENCLOSURES OPEN TO THE SKY 53 Meme eetosepeNns, IViAIN POOL... 2... ce tee ee eee 54 Geeoueepe ViariA Luisa. Brick RorunDA................ ia GARDENS OF THE GENERALIFE. GREEN PREDOMINATING COLOUR 56 GARDENS OF THE GENERALIFE. PEBBLED PAVEMENT......... 57 GARDENS OF THE GENERALIFE. HILLSIDE GARDEN AND STAIR BeNOR LANDINGS (0. ee eee De eee 58 GARDENS OF THE GENERALIFE. CENTRAL CANAL............ 63 GARDEN OF THE CasA DEL Rey Moro. WatTeER CarrieED IN ie ESAS SS se cere Sea a eh 64 SMI aM A, GRANADA... 26) tee he ee ew eee 66 feegse GARDENS. INsIGNIA PLrantTeD In Box............. 68 Ea AT CISUNA Ooo eine doe ee ge eee ee 74 Las Ermitas, SIERRA DE Corpova. WuHiteE WALL SETTING.. 74 PAVILION IN THE GARDEN OF MURILLO, SEVILLE ............ 76 House IN THE CALLE GUZMAN EL BUENO, SEVILLE.......... SI LARGE STEPPED Poot 1n PotycHRoME TIiLeEs, SEVILLE....... 82 Poot Linep witH Brick AND PoLycHROME TILES, SEVILLE... 82 TrteD PATIO AND Hoopep WELL, SEVILLE......... a ae 84 18 LIST OF ILLUSTRATIONS DimInuTivEe PATIO GARDEN? DEVILLE, 23.4.4 eee eee he Benco Executep in Pouycarome Pre 342.5 5...5 5) eee Bencues Executep rn PoryveaRoMm lTILB ))...>)..34 soe TILE AND Stucco DETAILS FROM THE PARQUE DE Maria Luisa ForMER PALACE: OF. THE ALTAMIRAS, DEVILLE ..9.2) 500 PaTIO OF THE FoRMER ALTAMIRA Patace. WELL-HEAD..... PaTIo OF THE FORMER ALTAMIRA Patace. Use oF POLYCHROME TILE. 60 ee a ea Patio Stair AND Weti—Heap, Monpracon Patace, Ronpa . Casa CuHapiz, GRANADA. GRANADINE PATIO“. >. 20 eee Casa Cuapiz, SeconDARY PATIO (2.520) CLOISTER OF THE CONVENTO DE SanTA CLARA, MoOGUER..... A Tyrpicau SEVILLIAN Patio TREATED IN TILES. 7 Patio oF THE Hospicio, FORMERLY EL CONVENTO DE LA MERCED Patio or THE Hospicio, TREATMENT IN WHITE AND YELLOW STUCCO oa oo ee ee ee eee Oxtp Corpvova Patio with CoLouRED TILE Winpow TREAT— MENT ooo oats bl Pas ened Sek FIFTEENTH CENTURY CLOISTER, CONVENTO DE SANTA CLARA ForMER MonasTERIO DE SAN JERONIMO, SIERRA DE CORDOVA ABANDONED. CarTUJA AT JEREZ ..4¢% uw. oe CLOISTER OF THE MOoNASTERIO DE NUESTRA SENORA DE GUADALUPE 44 eee eee ) . a GARDEN OF THE CASA DEL Rey Moro. Upper TERRACE.... GARDEN OF THE Casa DEL Rey Moro. MIppLe TERRACE... GaRDEN Pian, Casa DEL Rey. Moro... = -..7 12.5 ee Lowest TErrace, Casa pEU Rey Moro ). eee DeTaiL oF THE Poo., Casa DEL Rey Moro) LooKkING UP THE THREE GARDEN LEVELS, CASA DEL Rey Moro Patio, Casa pet Rey Moro ..;.).4 5. fe eee ENTRANCE TO Monastery Las Ermitas (HERMITAGE)........ ENTRANCE TO CHAPEL FoRECOURT, LAS ERMITAS 50 Las Erwiras. Tre Monastery Group... 32) eee Las Ermitas. A HILusipE or ORANGE AND OLIvE TREES... Las Ermitas. Eacu Hermit RESPONSIBLE FOR His GARDEN.. Las Ermitas. WALL SURROUNDING EacH STRUCTURE AND GARDEN View From Mrrapor, GRANADA AND THE ALHAMBRA IN DISTANCE THe Present Day AppRoacH TO THE GENERALIFE GARDENS . Birp’s Eye View oF THE GENERALIFE, GRANADA ........... Ture GENERALIFE SEEN FROM THE ALHAMBRA |...) eee ENTRANCE PaTIO OF THE GENERALIFE FROM GATE LODGE.... THE GENERALIFE GARDENS. PaTIO OF THE CYPRESSES...... THE GENERALIFE GARDENS. FOUNTAIN IN THE PaTIO OF THE CYPRESSES (5.0 a oc en ee THe GENERALIFE GARDENS. Loccia In WuitE Stucco AND GREEN WoopwoRrk: 30. . 0.0 0o eeu THE GENERALIFE GARDENS. PEBBLE WALK DESCENDING FROM Highest Terrace... ..S05. 4.1 ee THE GENERALIFE GARDENS. StatR LEADING UP FROM THE Cypress Patio)... 0: Oe THE GENERALIFE GARDENS. DeEtTaIL oF STAIR..........+-<-~ 153 154 155 156 157 LIST OF ILLUSTRATIONS THE GENERALIFE GARDENS. STariR ASCENDING TO MiRADoR.. THE GENERALIFE. WINDOW WITH WOODEN GRILLE, OR REJA THe ALHAMBRA PaRK OR ALAMEDA. FOUNTAIN OF CHARLES V THe ALHAMBRA. FOUNTAIN IN THE’ PaTIO DE DaRAXxa..... THe ALHAMBRA. FOUNTAIN IN THE Court Los LEONEs ..... MummreeunRa. (JPpPER GALLERY ...:.......0..s oeeces-eee THe ALHAMBRA. LOWER ENTRANCE PaTIO DE LA REJja...... [aEOALHAMBRA. PAVEMENT OF PATIO DE tA REjA.......... Tue ALHAMBRA. LOOKING FROM PaTIo DE LA REJA INTO MU ME DAA A he eS ey ol eve ee we case THe ALHAMBRA. Upper anp Lower GALLERIES. Norrtu SIDE Meer LOS: WIARTIRES, (GRANADA.....6...0..05-05 000s ee eee MasstvE Waut ENcLosinc GARDEN oF Don JosE Acosta ARcADED Watt oF Acosta GARDEN SEEN FROM THE RoapD Sree eos GARDEN, CrAssic ACCESSORIES ......:........ feaeecosrTs GARDEN. TEempir.AND ARCHWAY.............. Siemeeersts (GARDEN. OTEPPED WALL ........:.......--.-.-- DRA COSTA (XARDEN (2 0sc0. co. cn cs ve ce ee ceee ENTRANCE TO ALCAZAR GARDENS. OveER—PORTAL............ View oF AtcazAR GARDENS. WALL PROMENADE............ View or ALcazAR GARDENS TWENTY-FIvE Years Aco...... THe ALtcazarR GARDENS. Poout anpD ENTRANCE LOGGIA ...... THe Aucazar. A Pavep Patio BETWEEN Two PLANTED PLotTs Mae NEeaZAR. (GARDEN OF Maria PaDILLA.............>... Tue ALcazaR GARDENS. PLANTING Forms GREEN BACKGROUND Tue ALcazAR GARDENS. DIFFERENCES OF LEVEL ADD INTEREST THe ALcAzZAR GARDENS. WALLED ENCLOSURES CONNECTED BY IE IMG a. ek ca BS ae ee THe Atcazar. GALLERY IN WALL oF PETER THE CRUEL.... Ppa eT ECAZAR GARDENS. PAVILION OF CHARLES V ........... Tue Atcazar Garpens. PaviLion anp Poot or Joan THE Map THE ALCAZAR GARDENS. STAIR OF POLYCHROME TILES....... PLAN oF THE DuKeE or MEDINACELI’S PALACE AND GARDEN Bee iM ACEL! (GARDEN. PioT A............050ce cence eee SreviemINACELI GARDEN. Puor B.:...:........2..-..00--- Meee impinAcet: GarpEN. Prors C anp D................. ie irpinAcEen! GARDEN. Detraits or Prot C............. ate WIEDINACELI GARDEN, Pitot E. Ciay Court ,......... Pie MEDINACELL GARDEN, Prot FE. Free PLaNTING........ Peeeror tHe Casa pe Duour pe ALva, SEVILLE ........... Powe ARDEN OF THE ALVA) PALACE. <:.... 0... .00.20 0 0s» Deeiereat PATIO OF THE Ava PALACE... ...........6..400 Tue Atva Patio, witH [Ron GRILLES Towarps THE GARDEN Semiee vy ( VERLOOKING THE ALVA PATIO. ........0... 400000 Srna PATIO IN THE ALVA PALACE....... 24006000 00 wees Meeeniys PATIO SEEN FROM THE GALLERY.........-......- Mitein dUisA- PARK, SEVILLE. Cypress ARCH .............- Reece bisa Park. Prercora 1s Waite Stucco........... Meera isa PARK, Liny PoND AND ISLAND..........+.... MaApIA Luisa ParK. WINTER ViEW oF Lity Ponp......... MeeaTA 1UISA PARK. QUADRANGLE ..........:. ee Og 20 LIST OF JLLUSTRATIONS Maria Luisa Park. OvutTpoor Reapine Room <.....7,5.598 249 Maria Luisa’ Park. Srucco: Detatu sa7 250s eee 250 Rear Door anp WINDOW OPENING ON AN ABANDONED GARDEN 250 Museo Provinctat. DETAIL oF THE GARDEN >... eee 267 CALLE DE GuZMAN EL BuENo. LoGGiA AND GARDEN ........ 258 CALLE DE GUZMAN. EL Bueno: Rar GARDEN, 7.5. eee 259 PALACE OF THE MARQUES DE VIANA. LOGGIA <2 7.2.) ee 261 Tue VianA GarRDEN. WHITE WALLS SOFTENED BY VINES ... 262 Tue Viana GarpDEN. LOOKING FROM THE BALCONY ......... 263 Tue Viana GARDEN. Biue Woopen GATE. 2.72 eee 264 Tire Picrure or Picnic, DATED 1809 £2... Fe 265 CLOISTER OF THE CONVENTO DE SAN FRancisco, PALMA ..... 273 Patio OF THE ALMUDAINA OR MoorisH Roya Patace, Parma 274 Patio oF THE Casa Lastre, PALMA... 00.004) er 275 PaTio OF THE VivoT PALACE, PALMA...) 23... 200 276 Casa or Don Juan MARoqusEs, PALMA. ..:...2. 2250 eee 27 PaTIO OF THE VERI PALACE, PALMA ©... .:,.>.-. 32 278 Patro OvERLOOKING GARDEN AT La GRANJA................ 283 Patio at Raxa. Tue Despuic’ CouNTRY SEAT). 9 pee 284 Raxa. Estate oF Carpinat Despuic. THE RESERVIOR.... 285 Tue GarpENn Stair AT RAXA.) 40.2...) e ee 286 THe GARDEN aT Raxa. MonNUMENTAL STAIR... 005 eae eee, AuraBiA. AN ESTATE ON THE Roap To SOLLER, Majorca... 288 THe ApproacH To ALFABIA SEEN FROM WITHIN THE PaTio.. 289 THe GarRDEN PERGOLA’ AT ALFABIA].2., 2.42 ee 290 THE GaRDEN GaTE AT ALFABIA. ...... 44.0). =n 291 Son sa Forteza, Majorca’... 2... 62.2005 oy 292 Son sa Fortreza, Upper TERRACE ..<.., 722.9 293 Son Brerca, MAJORCA... 6... sas eee ee 294 Son Berea, Patio AND FACADE « -¢, 12.70.1550 295 GARDENS OF THE VILLA RuBERT, Parma. View oF SEA..... 296 GARDENS OF THE VILLA RUBERT, ACCESSORIES...) eee 297 THE ToMatTo TERRACES AT BANALBUFAR, Mayjorca.......... 298 LINE-CUTS Pace Patio Wak Laip IN GREY AND Wuite PEBBLES, GRANADA... 61 Usepa. Postern Gate. In SMALL GARDEN .>.. 97) ee 62 Marsie Fountain, Patace or Marques DE PENAFLOoR, Ecija 65 SEcTIONS .oF DrvipInc. WALLS: . /.2.55. 7-2. 70 TiLtED Hoops ovER GARDEN ENTRANCES, SEVILLE ........... 75 PLAN AND SECTION OF PoLYCHROME TILE Poo., SEVILLE..... 83 GaRDEN ENTRANCE SHOWING UsrE oF ‘TiLED Hoops, SEvILLE 86 We.i-Heap or Brick anp Stucco, HecijA... 2.2 eae 118 PLAN OF THE GENERALIFE, GRANADAs..... 107) 0. eee ISI THe Acosta GaRDEN. Stupy IN Retaininc WALIS......... 187 PLAN OF THE ALcazaR GARDENS...) 000.5) oe 197 Detail, Puan, REAR GaRDENS, MEDINACELI PALACE......... 220 Museo ProvinciAL, SEVILLE. PLAN oF TILED GARDEN...... 256 PLAN OF THE PALAcE oF Marques DE VIANA, CORDOVA..... 260 - ANDALUSIA 5 - CHAPTER I CHARACTERISTICS AND TYPES OF SPANISH GARDENS UMEROUS and beautiful must have been the gardens of Andalusia during the Mohammedan régime. T’o quote but one contemporary, Eben Said, a Moor of Granada who traveled through southern Spain and northern Africa in the thirteenth century: “ a C GENERALIFE GARDENS, GRANADA ter carried down the top of the parapet by means of a tiledrunlet ings, wa lar land ir witb circu Sta CHARACTERISTICS AND TYPES 59 use of coloured earths, renewing them frequently that they may look fresh, appears to be of Persian origin, and was revived in Europe in Renaissance gardens through the influence, probably, of Moorish Spain. Two attrac- tive examples of the yellow clay paths are the Convento de la Merced garden and that of the Medinaceli palace, both in Seville. Water, seen and heard, was a more indispensable part of the garden design than plants themselves. Arid Spain was made fertile by Moorish irrigation. The Moors were great hydraulicians, and what one sees to-day of scientific irrigation is but a miserably small fraction of what they left when driven out of the Peninsula. In using water as a decorative adjunct to the garden the scarcity of the supply influenced the manner of its appli- cation. A very little had to be made to look like a great deal. Artificial lakes therefore could not be dreamed of, nor even pools of any size with their aquatic plants and birds and their little islands connected by pretty toy bridges. Water was too precious to lie silent in a broad expanse; it had to be confined in terra-cotta canals and made to murmur through all its course. There was no periodical flooding of the entire area, nor wasteful flowing through earth ditches; instead, the thin stream was held to its course so that no drop escaped to nourish where not necessary. Diminutive conduits ran from tree to tree, from shrub to shrub. In the case of terraces, besides the open canal disappearing under the Steps, the concave ramp of the Stair itself might conduct water from an 60 SPANISH GARDENS AND PATIOS upper fountain to a lower. Whatever served this pur- pose, it was open and visible, and the water was made to show itself in as many places as possible before it was carried off to the more utilitarian Auerfa. This endeavor to squeeze decorative benefit out of the last drop has resulted in special designing of fountains and basins. The pool of a spouting fountain, for instance, is not drained as it would be elsewhere; that is to say, there is not a waste below the rim of the basin, for then the effect of the play of water on the edge would be lost. As it is, it glides over, sparkles in the sun and increases the luStre of the tiles in so doing, then is caught in an outer gutter and carried off in an open canal. Basins of marble or Stone have their outer brim faceted, by which device the volume of water spilling over seems augmented. Still another trick to produce the same illusion is to make the water reflect. Fountains are of glazed tile not merely because baked and enameled earthenware was a popular and inexpensive material, but also because its glazed surface makes a thin film of sunlit water gliding over seem greater in volume. ‘Tiled paths are sprayed from minute jets not only to freshen and cool them but also to make them reflect and sparkle like a flow- ing Stream. These economical yet effective ways of using water in Spanish gardens offer a marked contrast to the copious jets d’eau and rushing cascades of the north (pathetically dry except on féte days). Wherever water has to be “used with due regardful thrift,’’ the Andalusian way Is CHARACTERISTICS AND TYPES 61 worth studying. In our own southwest, where it costs more to water the garden than to heat the house, it offers a valuable suggeStion; and, indeed, in more than the use of water, for the similarity of climate and growth also favors the Spanish tradition. y | Py) ee Cais is i vie ere SSS LS = = a YS * 2 2 = w= i a AN . We if N s aA Q = A Cy | =? S Fs, rs SSS Se sass ass TWO UNITS OF A PATIO WALK LAID IN GREY AND WHITE PEBBLES, GRANADA ‘ —_——SE tt——= — =i & oe || oe J 4 i t “! t i CHAPTER III PATIOS OF CORDOVA, SEVILLE, AND GRANADA LL northerners agree with Théophile Gautier that “the Andalusian patio is a charming insti- tution.” Indoor garden, with growing plants and vines in its open centre; outdoor parlour, with chairs and tables and varguefio cabinets and pictures under its roofed arcades. In both humble and pretentious houses the patio was the nucleus of the plan; it answered to climatic conditions, also to the Moorish tradition of sequestered family life. Andalusia underwent a change of régime from Mohammedan to Christian; but the climate was not affected thereby, nor was this belief in seclusion, and so the Moorish plan was retained. Accept- ing further the Arab idea of a plain exterior and a rich interior, it was the patio rather than the facade of the house that the Spaniard embellished. The two Stories of the patio are connected by an en- closed Stair running up between walls and opening directly off the patio without hall or vestibule. In the sixteenth century the Renaissance type with open Stair- well made its appearance in Spanish domestic architecture but was coldly received. Builders, even of palaces, went on with the inclosed Stair—its treads of plain tiles, risers of polychrome, and protective nosing formed of a heavy billet of oak, Square in section. Stucco and tile wainscot made the walls; tiles, the well and pavement, save per- haps for small corner flower-beds; the surrounding arcade 95 96 SPANISH GARDENS AND PATIOS was generally ornamented in yeserta (carved adamantine Stucco), and its ceiling was of pine beams painted in the Moorish manner. In the case of a small house with one patio, the well Stood in the corner most accessible to the kitchen. In larger patios the garden feature of a central fountain was often introduced. The well parapet is generally of tiles and the arch for the pulley is either of iron or Stone. Standing around, to complete the picture, are a few carrying jars of graceful form either in copper or glazed earthenware. Planting is limited to vines and trees which grow from earth pockets at the base of the arcade piers, and which are trained to form a leafy ceiling over the whole court; but though there are no flower-beds to speak of, potted plants are used without number, and of infinite variety are the designs and the colour-schemes in which they are set out. Cordova, Seville, and Granada, the three most im- portant Andalusian cities either in the past or the present, evolved each a diStin¢t sort of patio, though now, as will be explained presently, the Sevillian type is dominant. The Cordoveses, caring less about tiles than did the Seve/- lanos or the Granadinos, satisfied their colour sense by kalsomining their white patio walls with bands of ultra- marine, ochre, or green—rather sparingly. Sometimes the piers supporting the second Story were painted ; in the Viana patio they are bright yellow, and the glazed flower-pots match. Architecturally the Cordovan patio was less developed than the others—square Stucco or Stone PATIO OF THE FORMER ALTAMIRA PALACE, SEVILLE For the well-head and ‘wall-borders polychrome tiles are used PATIO OF THE FORMER ALTAMIRA PALACE, SEVILLE ringly used Polychrome tiles are most effective when spa PATIO STAIR AND WELL-HEAD, MONDRAGON PALACE, RONDA Varying levels characterize the Spanish groundfloor CASA CHAPIZ, GRANADA Typical sixteenth century Granadine patio showing Mudejar woodwork IOl CLOISTER OF THE CONVENTO DE SANTA CLARA, MOGUER W hitewashed walls, a brilliant polychrome well, and scant planting CASA CHAPIZ, GRANADA A secondary patio with gallery supported on corbels instead of columns 102 ree ORO IEE A TYPICAL SEVILLIAN PATIO TREATED IN TILES CORDOVA, SEVILLE, AND GRANADA 103 piers upholding the arcade, or even, inStead of arches, a plain post-and-lintel conStruction. Pebble pavements in black and white abound. ‘There is much charm in these simple patios—bright patches of sun, exquisite bluish shadows, and one vivid colour. Besides the Viana patio, which is shown when the family are not in residence, that of the Museo Provincial is another typical example. This house, once a palace, has in addition a charming little second-Story loggia with a facing of azulejos. Another house is entered from this same patio. It hasa pretty informal garden at the back, full of fragrant flowers and adorned with fine fragments of Moorish carving dug up nearby—débris of what was the one centre of culture in WeStern Europe during the Dark Ages. The Sevillian patio is much more ‘dressy.’ Its owners kindly permit the passer-by to get a glimpse of it from the Street through the iron grille (resa or canci/la) of its veStibule. It is primarily an expression in coloured tiles and white ornamental plasterwork. Whether its Moorish prototype gave so much space to the polychrome tile is doubtful, it being quite likely that Christian Seville took to this manner of display only after it waxed rich through being the official port for trade with the New World ; at any rate, residents of Cordova claim that their simple patio is truer to the Moorish. In this matter of introducing colour it is rather anomalous that the Chris- tian Spanish should have wanted more of it in the form of tiles, and yet always left white the carved Stucco 104 SPANISH GARDENS AND PATIOS which the Moor painted so gaily—overpainted, we are apt to think after walking through the royal Moorish palace of the Alhambra. Aside from its exuberance of azulejos the Sevillian patio is further distinctive in being more architectural— marble columns to its arcade, an enclosed upper Story with pedimented windows looking down into the court, a designed fountain instead of, or supplementing, a well. Many of the painted wooden ceilings over the patio- galleries date from the sixteenth and _ seventeenth centuries and were the work of Moors. In this same epoch a great deal of marble was used for pave- ments, and handsome iron rejas were ordered for patio windows. Another feature of interest is the panelled door — Moorish carpentry —that gives access to the various rooms opening from the patio; also the manner of hanging it ——inStead of being hinged in a jamb it Stands forward of the opening and is pivoted top and bottom, the socket of the top embedded in a projecting corbel of either wood or Stone. Altogether the Sevillian patio is a very attractive outdoor living-room and is well worth the attention of American architects; not only those of Florida and the southweSt, where there is a Spanish tradition to live up to, but those in any part who are called on to build summer homes. ‘The application of coloured tiles is now past the experimental stage ; and the carved Stucco duro, or yeserza, could be admirably interpreted in terra cotta. It is hardly necessary to indicate the notable patios CORDOVA, SEVILLE, AND GRANADA 105 of Seville, beautiful ones being visible or partly so in any Street outside of the shopping diStrict. Besides the well-known palaces of the Duques de Alva and Medinaceli (who seldom reside in them) there is the contemporaneous Pinelos house at No. 6, Abades, which is now a pension, and the Olea, in Guzman el Bueno. This laSt has been occupied for over a century by an English family, the Osbornes. Nearly all the houses on this Street possess patios quite as fine. For picturesque but dilapidated examples one must prowl about the old Jewry — Calle Levies and all around Santa Maria la Blanca, the former synagogue, where rich Jews built their palaces; while in another quarter, opposite Sav Yuan de la Palma, is the former Altamira palace, now rented out in Studios and its paved patio serving as a warehouse for antique dealers. The Granada patio is thoroughly Mudéjar, that is to say, of Moorish work but executed for ChriStians. More accurate would it be to say that it is thoroughly Moorish, for there is no evidence that it underwent any modification whatever on being taken over by the Spaniards. Structurally it is much lighter than the Sevillian. Wood, not Stone, was the material employed ; that is, while there were Still Moorish carpenters in Granada to fashion it, but after their breed had gone the Granadine patio took on more the aspect of the Sevillian. Of the two Stories, the upper was also a covered gallery and had a rail of wooden spindles, while the lower or supporting Story was rarely an arcade, but inStead, a post- 106 SPANISH GARDENS AND PATIOS and-lintel construction. Delicate marble colonnettes, hexagonal piers of brick Succoed, or carved wooden corbels, bore the weight. ‘The beamed ceilings cover- ing the walks were not painted in polychrome, but the beam ends, projecting to form the eaves, were carved in oriental fashion into a curious fish or animal head. Doors opening onto the patio were panelled and moulded, making that combination of rectangular panels of varying size that later became known as the “ sacristy door.”” The rails of the second-Story balustrade were square, set at an angle and fluted or reeded. — Pebble pavements are more used in Granada than elsewhere, and the vines that are trained to screen the open quad- rangle often grow from huge ¢majas, or oil jars such as Morgiana shut the forty thieves in. While the Granada patio remained true to the precedent of well-carved, oiled woodwork in combination with plain Stucco walls, it was the most distinctive of the Andalusian types, but in the seventeenth century, after the exodus of the Moors, columnar arcades took the place of wooden galleries, the open Renaissance Stair began to supplant the narrow enclosed Stair of tile and wood, and the patio lost its picturesque, sympathetic note. Easy to visit are the Casa Chapiz and a similar one in the Horna de Oro, just declared a Monumento Nacional. The patio, it will be seen, corresponds to the Italian cortile, but the treatment we have juSt described made of it a much more domestic-looking feature. It is the summer living-room of all Andalusian families; in 107 PATIO OF THE HOSPICIO, FORMERLY EL CONVENTO DE LA MERCED, CORDOVA 108 PATIO OF THE HOSPICIO, CORDOVA Typical Cordov d yellow stucco ite an Farogue treated in wh an AN oer ee. OLD CORDOVA PATIO WITH COLOURED TILE WINDOW TREATMENT , ga Ss h-O FIFTEENTH-CENTURY CLOISTER, CONVENTO DE SANTA CLARA, MOGUER The Andalusian cloister was the prototype for the early American missions Ee Be | FORMER MONASTERIO DE SAN JERONIMO, SIERRA DE CORDOVA Gothic cloisters now form part of the villa of the Marques del Merito biz THE ABANDONED CARTUJA AT JEREZ The once beautiful cloister now serves as a grazing ground CORDOVA, SEVILLE, AND GRANADA 113 winter they move upStairs. During the seventeenth century, when the surcharged baroque Style came to Spain, palaces then erected or remodelled received formal patios that could never take on the lived-in quality of the typical patio. Baroque, however, found its patrons chiefly among the rich monasteries — especially those of the Jesuits—so that in the domestic field the number of richly treated patios is small. That of the Marques de Pefiaflor in Ecija is one of the fines examples in Andalusia. Among religious houses the ‘‘ Compania” (Jesuits) in Cordova is specially sumptuous, while the former Convento de la Merced, now the Hospital, combines baroque with the traditional stucco and kalsomine trimming. In the cloisters of Andalusia as well as in the more ancient ones of northern Spain we find an interesting type of garden. ‘To the inmates of a religious asylum the cloister meant even more than the patio did to the members of the family, and to its planting and care they gave much attention. It was not only a fortus conclusus ; it was also the one passage leading to the various departments of the in&titution, a veritable thoroughfare in its small way. Into its covered walks opened the chapel, the chapter-house, the refectory, the library, etc. The first religious communities had in their strug- gling period but one cloister —a single-Storied arcade with a wooden lean-to roof, this often vividly painted in the Moorish tradition. The columns were set in pairs, 114. SPANISH GARDENS AND PATIOS that is, two deep according to the thickness of the arch sofit. As the monastic institution waxed richer and more important, it added a second Story to its cloister, or even had two such enclosures. The walks were ceiled with masonry vaulting, and rich carved ornament was introduced into the capitals of the arcade. This display of art, especially of the human figure, was dis- approved of by Saint Bernard, and his order, the Cister- cian, returned to leaf and geometric patterns; but later, in Gothic days, all restrictions were ignored and the tracery and capitals of all cloiSters became very ornate. As to the open or garden part there were two es- sential items—the sombre cypress and the utilitarian well. ‘This last was usually the centre from which radi- ated the pattern, but the Cistercians covered, or rather surrounded, the well with a handsome well-house, and changed its position to one side, that opposite the re- fectory door. Here the monks Stopped for ablutions before going to meals. Such a lavatory, hexagonal, was de rigueur in the cloisters of the order, and particularly fine ones can be seen at Poblet and Santas Creus, near Barcelona. In late cloisters of the fifteenth and six- teenth centuries the central well was enclosed in a sort of tempietto, as at E] Paular and Guadalupe. In the latter, there is not only an elaborate brick well-house in the centre, but also a lavatory in one corner, though the order that built it was the Hieronymite, not the Cistercian. The cloister well-curb was generally of marble and surmounted by a fine wrought-iron head for CORDOVA, SEVILLE, AND GRANADA Pig the pulley. Walks were of gravel, Stone flags, pebbles combined with sheep knuckles, or of glazed tiles; curbs for garden-beds were of Stone. In the garden proper there were no benches, but on the inner or covered side of the arcade parapet ran a Stone bench. Cloister gardens having Stood abandoned during the half-century of diseStablishment of the religious orders, and only a few of them ever having been rehabilitated, their planting-scheme is no longer trim and easily ap- preciated. It was never elaborate. Four or six paths, box-lined, led from the centre, these crossed by sub- sidiary walks where the area was large, in which case the beds occupied less space than the intersections. Flowers were specially chosen for their perfume, and roses and lilacs still make the air heavy in many an abandoned cloister. It was the Andalusian cloister that served as model for the monks who built the missions in our-own south- west. With its white sun-beat walls instead of the sombre cold masonry of the north, and its polychrome tiled pavements instead of dark-grey flagstones, it im- parted a decidedly more cheerful note to monastic life. Of this type the cloister of the convent of Santa Clara in Moguer (a few miles from Palos, whence Columbus set sail on his immortal voyage) is the popular expres- sion. Enormously thick walls with cooling, shadow- inviting reveals—walls so often whitewashed that detail has become indiscernible; a well in the centre with curb of battered polychrome tiles and a decorative iron head; 116 SPANISH GARDENS AND PATIOS planting confined to a few pleached orange trees and vines; potted flowering plants guarded under the arcade away from the blazing sun—this white cloister seen through the iron grille by moonlight has a very rare and special beauty. | Among the monasteries bought and converted into residences since the DiseStablishment may be mentioned that of San Jerénimo in Cordova, another of the same order in Lupiana, near Guadalajara, the former belong- ing to the Marques del Mérito and the latter again for sale; the Benedictine of San Benet de Bages, home of the painter, Don Ramon Casas; and the Carthusian of Valdemosa, Majorca, where Georges Sand and her lover, Chopin, lodged shortly after the monks left, and which was recently acquired by the late illustrious Catalan biblio- phile and scholar, Don Isidor Bonsems. In all these cases the abandoned and overgrown cloister was re- planted and given the domestic touch of the family patio, and a more pleasing form of small intimate gar- den would be hard to find. ey PE ASTERIO DE NUESTRA SENORA DE GUADALU CLOISTER OF THE MON ummoned from Andalusia by the Abbot ere s SW Zan i art To build this A WELL-HEAD OF BRICK AND STUCCO, ECIJA IV tah CHAPTER IV THE GARDENS “DEL REY MORO,” RONDA, AND LAS ERMITAS, SIERRA DE CORDOVA DEL REY MORO N RONDA, a few hours by rail north of Gibraltar, is a chef-d'ceuvre in the way of a small hillside gar- den. The Casa del Rey Moro (House of the Moorish King, according to local legend) is now the property of the Duchess of Parcent, by whom the old white villa and its garden have been most admirably reclaimed. The city of Ronda, magnificently surrounded by lofty mountain ranges, is built on an isolated ridge which is rent asunder from base to top by the deep nar- row chasm of the Guadalevin River. Clinging to the south side is the primitive Moorish town; spreading out on the opposite, the more modern Christian quarter which sprang up after the city was captured from the Moors by Ferdinand and Isabella in 1485. It would be on the south side, then, that we should look for Moor- ish remains. The several interesting white villas along the gorge or fajo, once belonged to Mohammedan nobility ——even to royalty, as is popularly claimed; among their Spanish possessors are the Marques de Salvatierra, the Marques de Parada, and the Duquesa de Parcent. Only this last is the fortunate owner of a garden. To construct it the French expert Forrestier was called in. Because of the nature of the ground he had to become something of an inventor. 122. SPANISH GARDENS AND PATIOS As seen by the drawing, the site presented great dif- ficulties. It is a precipice rather than a hillside. The modern landscape architect could not be satisfied with merely quarrying for a foothold, but wrested from the rock sufficient terrain to accommodate a neat scheme, a small garden so ingeniously arranged that one gets an impression of actual amplitude, In the uppermost part he had to do much filling-in; in the cliffside, much tun- nelling, stepping, and terracing to add beauty and interest. Here he found a Stair cut in the rock down to the river- bed and left it as it had been ever since the problem of securing water was thus solved by the Rey Moro’s archi- tect. As one looks down from the garden proper, the vari- ous little footholds, walled-in and planted or paved with tiles, make agreeable oases in the rocky side of the gorge. The garden-plot measures some fifty by one hun- dred and seventy-five feet, the house being at the highest point and to the east. This area would be insignificant elsewhere, but here, as said, is made to look spacious. Conforming to the declivity westward, three levels were created. That adjacent to the house is treated in the Strictly Andalusian manner—nearly all tiled; the inter- mediary, as the garden proper, with considerable plant- ing; the loweSt, while made to conform Strictly to the topography, is composed to serve as the culmination of the composition. From the fountain of the uppermost area, a typical little four-inch open conduit, tile-lined, passes down the various levels and terminates in a pool. Commanding as it does not only the reSt of the gar- DEL REY MORO 123 den but also the white town backed by a sweeping panorama of exceptional grandeur, this uppermost level had to be provided with seats. These are of tile, their brilliant yellow and blue making a splendid colour note against the dense mass of shrubbery; thus set, the rigid contour of the free-Standing tile bench with back is made more agreeable. On the north side, overlooking the chasm and the town, is a pergola of one bay, while along the south or Street wall is a continuous pergola dropping down the three levels and making a sheltered walk along the whole length of the garden; this arbor is supported on Stone columns with coarsely carved capitals. Planting in the higheSt part is restricted to a few well-grouped plots cleanly defined by clipped box; the rest is paved with unglazed flat bricks in basket- weave with small coloured insets. ‘The basin of the fountain, the canal, and the coping of the foliage beds, are all in polychrome; the font itself is of marble. Seven feet below and reached by a balance Stair with a grotto between is the flower-garden—two sizable beds edged with box trimmed at intervals into pyramids. Rose-bushes and diminutive shrubs make up the plant- ing. ‘The walks are of gravel. ‘This being a circulating space, there are no seats. The lowe&t level, screened at the back by cypresses, is more secluded. It, too, is reached by a balance Stair, but here circular and embracing a tile-lined pool. The paths that radiate from here form with their various termini the reSt of the scheme. The well-head placed 124 SPANISH GARDENS AND PATIOS on the main axis came from a Renaissance palace. Well, exedras, cypresses—all are reminiscent of Italy, yet adjuSt themselves admirably to the topical treatment of the upper parts of the scheme. Fully to appreciate this charming little garden one muS&t keep the designer’s problem in mind; his available area was very reduced; one side was bounded by a gorge, the other three by a congeSted semi-Moorish town; breathing-space, privacy, and an impression of per- spective and distance had to be secured, hence the extreme motivation. More highly developed in plan than the average Andalusian garden, it instantly an- nounces that the designer could not wholly reconcile himself to traditional Andalusian simplicity. His French sense of design had to assert itself. Yet aside from the pergola and exedra, in favour of which tradition may well be ignored at times, all the embellishment is oriental—solid parapets inStead of the balustrade, low pools inStead of the raised fountain, brick and glazed tile inStead of marble, areas of tiled pavement inStead of grass, and vegetation dwarfed and retrained instead of natural. The architect has, one may say, carried the Andalusian tradition forward into the twentieth century, modernizing it for the needs of a twentieth-century cos- mopolitan family. LAS ERMITAS, SIERRA DE CORDOVA We have mentioned Cordova, the city, as a natural region to look for flat gardens; but to the weSt of the town, mounting into the Sierra de Cordova where once 125 a — a GARDEN OF THE CASA DEL REY MORO The upper terrace commanding a view over the gorge to the town of Ronda 120 THE MIDDLE GARDEN TERRACE, CASA DEL REY MORO White retaining walls and amphorae of brilliant colors ae GRAAR MAME BY x Ws eter perheeies PEDGREE Ste CASA DEL REY MORO GARDEN PLAN 128 THE LOWEST TERRACE, CASA DEL REY MORO The formal terrace with free planting and gravel walks » CASA DEL REY MORO DETAIL OF THE POOL, les ite ti lazed wh in g xecuted E 130 EE GARDEN LEVELS TOWARDS THE VILLA, CASA DEL REY MORO LOOKING UP THE THR PATIO OPENING ON TO THE GARDEN, Ser ee ee the os Pee ee CASA DEL REY MORO Atl 132 ENTRANCE TO THE MONASTERY CALLED LAS ERMITAS (HERMITAGE) In the Sierra de Cordova LAS ERMITAS et stood fine Moorish villas and gardens, are a few hillside examples of interest. One of these, E/ Conwento Ermi- taho, we illustrate. It occupies a site favoured by hermits ever since the remote introduction of ChriStianity into Spain. This high-lying convent (in Spanish, convent and monastery are synonymous) is inhabited by a dozen old monks, each living separately in his little white casita and keeping his hillside patch of green in order. It is the layout of these individual quarters that is spe- cially attractive—all white Stucco against which the simple planting is very effective. The well-cared-for slopes are covered with luxuriant olive trees, and in the gardens proper are tall cypresses and Stone pines, which make the various small hermitages appear all the more diminutive and homelike. On the return to Cordova one may visit the Quinta de Arrizafa, supposed once to have been an estate of Abderrhaman, first of the great caliphs. Mediocre as to garden craft, it is interesting for its extraordinary prodi- gality of flowers; there is also a famous aviary of pheasants and fighting cocks. Woe ENTRANCE TO THE CHAPEL FORECOURT, LAS ERMITAS Through an arch of cypresses LAS ERMITAS. THE MONASTERY GROUP Chapel and separate casitas, a study in green and white AGE we A HILLSIDE OF ORANGE AND OLIVE TREES TERRACED WITH WHITE.WALLS LAS ERMITAS. LAS ERMITAS, WHERE EACH HERMIT IS RESPONSIBLE FOR HIS OWN GARDEN PLOT LAS ERMITAS. EACH STRUCTURE AND GARDEN IS SURROUNDED BY A HIGH ee WHITE WALL % . * E GENERALIFE, GRANADA a VIEW FROM THE LOFTY MIRADOR SHOWING GRANADA THE PRESENT DAY APPROACH TO THE GENERALIFE AND THE ALHAMBRA IN THE DISTANCE GARDENS CHAPTER V THE GENERALIFE, GRANADA RANADA isa mountain city three thousand feet above sea level. Sentimental tourists who go to it Steeped in the literature of the Romantic School are generally disappointed. It is difficult for them to picture the empty, over-restored royal courts peopled with languishing Moorish maidens, or to see the ragged, importuning gypsy women as haughty beauties with slumbering fire in their eyes ; consequently they feel that Granada has somehow not come up to their expectations. As a matter of fact few cities in the world can compare with it for sheer beauty of situation. Of that at least the change of owners could not deprive it. Little is left of the Moors’ Capital except the 4/hambra on the - acropolis and the Genera/ife on the opposite hill. Of the many sumptuous palaces, villas, and gardens of the Moorish aristocracy that occupied the Albaicin and other surrounding hills, not a trace is left; but when the conquering Spaniards entered in the first days of the year 1492 they must have beheld a display of hanging gardens such as met the unaccustomed eye of the rugged warrior from Macedon when he entered Babylon. To- day we are reduced to the two examples mentioned above. The Generalife, supposed to have been the sum- mer residence (Casa de campo) of the Granada kings, was probably built in the late fourteenth century. It owes 143 144. SPANISH GARDENS AND PATIOS its preservation to its having been given, along with a Christian beauty, as a suitable reward to an aristocratic Moor who turned ChriStian. Legend further States that it never passed from their descendants. Until recently the Generalife, also the intereSting sixteenth- century palace known as the Casa de los Tiros down in the city, was held by the Marqueses de Campotejar, who, through remote intermarriage with a Genoese family, changed their nationality and spent but little time in their Spanish ancestral residences. Between them and the Spanish crown a suit for possession of these two Granada properties was pending for over a century, to be settled only last year in favour of Spain. The town house is to become a museum, and the Generalife is to be restored as a public garden. If only the work receives the wise supervision of the Comzsario Regio who is urging the scheme on the government (the Marques de Vega Inclan), we may hope to see the feeble cast-iron fountains, railings, and other intrusions of the nineteenth century replaced by appropriate reproductions of Moorish originals. Beyond this and the clipping back of the overgrown foliage which now disguises much of the layout but little is to be done, unless it be to reopen the original entrance to the grounds. What the seven- teenth century left in the gardens is picturesque and not incongruous. We have here a fine example of an old hillside garden, the more valuable because it can be Studied in relation to the villa which formed part of the scheme. All the THE GENERALIFE, GRANADA 145 architectural units being practically intaét, one sees what an intimate accessory the garden was, how it was almost drawn into the house, so to speak. The garden scheme is one of sequestered courts and open terraces. The villa is admirably set so as to have the advantage of every view, inwards or without. View it was that determined the placing of the long southern arcade looking to the main patio on one side and the distant Alhambra Palace on the other; also of the shorter arcade on the west overlooking the valley of the Darro River, and of the lofty loggias of the villa itself commanding the city. So much for the scheme as considered from within; seen from a distance the placing is equally successful. Instead of crowning the hill, E/ Cerro de/ Sol, in the obvious manner, the architect set the villa well down the southern slope, thereby escaping north winds and giving it an air of basking comfortably in a well-culti- vated expanse. The actual garden is seen to be con- centrated within a walled enclosure for which the surrounding /uerta makes a very decorative frame—the bright Indian-red earth kept plowed and friable, and dotted with myriad green tufts of orange and olive trees. When the former are heavy with fruit the hillside is like a rich woven fabric sparkling with threads of gold. As the terracing walls of the Awerta are untreated they do not conflict with those of the villa and garden; the eye goes immediately to the centre of the composi- tion. Yet this focus modestly announces itself by nothing more than its shining white walls; there is no 146 SPANISH GARDENS AND PATIOS accentuated treatment leading up to it; no escalier and ramp, no balustraded terraces such as make up the im- pressive partie of the Italian villa. Rather in the medi- eval manner it leaves one to imagine where the approach is made. Asa matter of fact, the original entrance was on the southwest or Alhambra side; but this was long ago abandoned in favour of the Stately alley of cypresses that leads from the lodge towards, but not entirely to, the present highroad. Of the porticoed villa which has Stood dismantled for years there is not much to say; it is picturesque, not architectural. The moS&t interesting feature about it is the disposition—miaster’s quarters in one unit and this connected with the gate-lodge by two long shallow wings, one for service, the other a promenade. Thus the main patio is completely surrounded. ‘The interior was never sumptuous, nothing more than cool white open loggias and rooms ornamented by carved yeseria or plasterwork which, if ever it was in polychrome, is now merely a deep ivory tone; nor are there any polychrome tiles. Marble was used for the columns of the delicate two-light (ajzmez) windows and for the loggia arcades. On the walls are a few seventeenth-century imaginary portraits of its early Christian possessors, meaning the Moor aristocrat who married the Spanish dame d’honneur. The principal garden is some hundred and fifty feet long, enclosed as described by buildings of several Stories at each end (villa and gate-lodge respectively), and low ones along each side. That along the south is in the 147 whi “tf ‘a, BIRD’S EYE VIEW OF THE GENERALIFE, GRANADA 149 ge = EE THE GENERALIFE SEEN FROM THE ALHAMBRA ee ern penintnciina LOOKING INTO THE ENTRANCE PATIO OF THE GENERALIFE FROM THE GATE-LODGE A: ANLZ] (aN | yy NS SX oe Mf ee UU) wa. cups f cesaelietl | SLES) al — Die Ml) ee eT ij ine 0nnnonnany PLAN OF THE GENERALIFE, GRANADA PRESSES THE GENERALIFE GARDENS, PATIO OF THE CY Also called the water garden THE GENERALIFE GARDENS. FOUNTAIN IN THE PATIO OF THE CYPRESSES LOGGIA IN WHITE STUCCO AND GREEN WOODWORK Connecting the villa with the Cypress Patio THE GENERALIFE GARDENS. 4 » * “en 22 & Mog ore! # t THE PEBBLE WALK DESCENDING FROM THE HIGHEST TERRACE THE GENERALIFE GARDENS. Be Gd , aerate | os AR, £@ WeHKE,, Gentine wan PRESS PATIO 3TAIR LEADING UP FROM THE CY ENERALIFE GARDENS. x THE ¢ bbles Landings laid in black and white river pe mo DETAIL OF STAIR press Patio to the terrace above NERALIFE GARDENS. THE GE y from the C Leading e wre ee oe % THE GENERALIFE GARDENS. BRICK STAIR ASCENDING TO THE MIRADOR THE GENERALIFE, GRANADA 159 form of an arcade interrupted midway by a diminutive mosque, now of course a chapel; corresponding on the north is a low service-wing. This last disguises an abrupt rise in the ground, its roof being just above the level of the upper garden. To run service-wings or other utilitarian Structures along a terrace inStead of building a lofty retaining wall was a practical solution. The idea is worth dwelling upon, though it is likely that a modern tenant of the villa (other than Spanish) would be more fastidious than the Moor about having his servants circulating freely through the main patio. The face of the service-wing is now all hidden, except for its green wooden doors, by neglected and unpruned growth of box and cypress. Of the patio itself the chief motif is the canal that bisects it from end to end; not the typical narrow runlet of coloured tiles that one would find in Seville, but a serious three-foot marble @//ée d’eau through which a considerable volume of water is conStantly flowing. The supply comes from several lively little mountain streams which were diverted from their course. Paths are of gravel; planting, now rather unkempt, is of low flowering herbs, the beds bordered by an ancient box hedge. In the way of accessories there is nothing but a shallow marble fazza at each end of the central canal and at each side the little spouts which send up thin jets of water to make a rainbow arch over its entire length. Before entering the upper garden, which can be reached only through the villa, one should go down- 160 SPANISH GARDENS AND PATIOS Stairs and out into the attractive little formal garden at the rear with its hedges of box and arcaded wall opened to extend the garden view to the city. We shall see this same sort of wall very effectively borrowed in the new garden presently to be described, of Don José Acosta. The upper court, named for the veteran cypresses which antedate the Christian conquest, is specially beauti- ful. From the villa it is reached by a few Steps up into the portico which, set against a blank wall, forms its weStern boundary. The Patio de /os Cipreses measures approximately twenty-five by eighty feet. It is in reality a water garden, but a Moorish water garden did not mean one broad sheet with aquatic plants and hydraulic curi- osities, but merely an ample canal; embracing in this case three diminutive islands, its depth augmented by the reflection of the giant cypresses against the north wall. These, along with the hedges of myrtle and a few flower- ing shrubs on the islands, comprise the planting. A Renaissance marble fountain, jets of water edging the canals, coloured flower-pots, and the pebbled walks in black and white, compose the applied decoration. All here is green and green reflections; a spot where one can feel cool on even the hotteSt summer day. The portico at the end, mentioned as giving access to the water garden, is balanced at the east by a Stucco wall with an arched gateway. ‘The wooden gate, like the doors of the portico, is painted green and opens upon the Steps that rise to the next level. The landings are treated in elaborate pebble mosaics, and the stepped para- THE GENERALIFE. GRANADA 161 pets at the sides hold potted fowers. Not until one has mounted to this third level is he free of the house and in the open garden ; for the house a¢ts as a connecting link between the two more intimate portions just described. The third and succeeding levels are treated as open parterres, edged with box and myrtle and filled with chrysanthemums, roses, and lilies; the walls for the most part are concealed behind clipped and wired cypresses. In the centre of the parterre just entered, there used to stand a cypress arbour of eight trees domed in at the top, but it has been removed. Two distinct flights of steps lead up from the fourth level: that to the east is of brick and covered with a grape-arbour, that to the west is an amusing feature with circular landings and fountains at the various levels and with a grooved parapet lined with shallow roof tiles down which the water runs merrily. This whole mot:f is buried in a mass of thick foliage through which the sun’s rays never penetrate and in which the Stillness is only broken by the constant ripple of the water. A picturesque whitewashed mirador affording splendid views Stands in the uppermost level, and the wall in front is surmounted by a row of busts in enamelled earthenware, probably of the seventeenth century and interesting as such. As if to prove that tiles in colour were more Spanish than Moorish, this most Moorish of. Andalusian gardens is at present devoid of them. It is quite probable how- ever that the several mediocre fountains seen were built to replace ruinous ones of azulejos. Even were these 162 SPANISH GARDENS AND PATIOS reStored one could Still say that a charming garden had been created practically without the aid of tiled acces- sories ; nor for that matter of any of the accessories that formed the usual Stock-in-trade of the European garden- builder. In their place are simple Stuccoed walls, coloured Hower-pots, pebbled pavements, and sparkling water. THE GENERALIFE. WINDOW WITH WOODEN GRILLE, OR REJA, IN THE GARDEN WALL LHAMBRA, GRANADA GARDEN, GRANADA . s .* # * Sy MENTS | CHAPTER VI THE ALHAMBRA, GRANADA THE ACOSTA GARDEN, GRANADA THE ALHAMBRA HE Alhambra having been both fortress and palace, its gardens did not pass beyond the ramparts, but took the form of a series of patios within the palace precincts. It is, therefore, a hilltop, not a hillside, example—the acropolis levelled, and the sides of the mountain left wild and unterraced. The plan shows the same succession of rectangular units, some open to the sky, others ceiled, that made up the Moorish flat garden and palace. It is necessarily incom- plete, for what is seen to-day is only a fraé¢tion of the original scheme. Most of the vast royal residence that fell to the Catholic Sovereigns dated from the reigns of Yusuf I and Mohammed V—the fourteenth century. Ferdinand and Isabella gave orders for its restoration and upkeep; also they made a few alterations. Their grandson, Charles V, while he rebuked the canons of Cérdova for tearing out the centre of the great mosque in order to install the Renaissance high altar and choir, did not hesitate to demolish a large part of the Alhambra group, structures and gardens, to make room for his never-to-be-completed Renaissance palace. His minor demolitions are less regrettable since he replaced them by something more harmonious than the Italian palace 165 166 SPANISH GARDENS AND PATIOS —we refer to the series of rooms and patios which were prepared for his residence pending the new construction. With these intrusions the Alhambra gardens as they Stand to-day are a combination of Moorish, early Span- ish interpretation of Moorish, and Spanish Renaissance —this last in the YFardin de los Adarves (flat wall tops) which Charles V laid out down on the ramparts, to the left of the modern entrance. Mo&t of their czmguecento motifs and sculpture have disappeared, but the box hedges and the rampart walls covered with vines seem to do quite well without them. Dominating the plan is the long Moorish patio, one hundred and twenty feet by seventy-fve—E/ Patio de los Arrayanes (myrtle) or, to give it its Arab name, de la Alberca (pool). First to be entered, it gives the impression of a golden glow everywhere, warm yellow arcaded walls, their reflection in the pool heightened by the myriads of goldfishes that dart about. Of planting, nothing more than the myrtle hedge; of embellishment, nothing but the marble pavement and the low basin at each end of the pool; this may sound pauvre, but it must be borne in mind that such walls would make, in them- selves, any enclosure beautiful. Specially graceful are the arcades at each end, supported on slender marble colonnettes with delicate capitals, that to the south sur- mounted by a beautiful little triforium gallery. The only other large patio left is that of the Leones on opposite axis to that just described. It was laid out in 1377, and measures ninety-two feet by fifty-two. Its KONYA ‘a}qoe pauresj-ueljeiy aqy Aq pousisaq A S€ATYVHO dO NIVINONOd ‘VOVNVUS ‘VGCANVTIV YO WAUVd VUAWVHTV AHL THE ALHAMBRA PALACE AND GARDENS. FOUNTAIN IN THE PATIO DE DARAXA Faceted Moorish tazza and Renaissance lower basin THE ALHAMBRA. FOUNTAIN IN THE COURT OR PATIO LOS LEONES THE ALHAMBRA. UPPER GALLERY Commanding a little garden on one side and the city on the other f | : 4 4 pdr ncmaainacter Pree Dain Drrnasnnuan hones 170 THE ALHAMBRA. LOWER ENTRANCE TO THE PATIO DE LA REJA, (OR OF JOAN THE MAD) Typical wooden spindle doors 171 ‘y ie, oe PAVEMENT OF THE PATIO DE LA REJA SEEN FROM AN UPPER GALLERY THE ALHAMBRA 4 ” JA INTO THE PATIO DE DARAXA LA RE ~ ALHAMBRA, LOOKING FROM THE PATIO DE THE THE ALHAMBRA. UPPER AND LOWER GALLERIES ALONG THE NORTH SIDE OF THE PATIO DE LA REJA 174 S29¥119} PI][VM JO soles W VAVNVUD ‘SHUILLUVAN SOT AAG OdWYD THE ALHAMBRA Lr planting, said to have been all of dwarf orange-trees, has disappeared—nothing but gravel takes its place. As far as the garden part is concerned only the famous—the over-famous—fountain remains, along with eight shallow basins at the ends, connected by little canals with the central overhow. ‘The Fountain of Lions, Standing out as it now does without the kindly proximity of trees or shrubs, does not seem to merit the praise generally be- stowed upon it. The noble beast is conventionalized even beyond heraldic recognition, and the spout pro- truding from his mouth hardly adds dignity. More admirable is the basin the lions support, mellowed into most beautiful colour. All four sides of this patio are arcaded, making a splendid display of slender marble columns and capitals. At each end 1s a pavilion with a wooden dome of typical Moorish carpentry. The two patios just described are the moSt genuinely oriental of the Alhambra; beautiful though they are in their way, it is rather the smaller Christian (by way of apposition) enclosures that offer the modern garden- builder greater inspiration. Among these, either re- modelled or created by the de&truction of Moorish portions, are the Patio de Daraxa and the Patio de Ja Reja, which deserve special attention. In the former, dating from the time of Charles V, is a beautiful Stone fountain, consisting of an upper Moorish basin brought from the Mexuar Patio and mounted on a Renaissance base. Here we see the ancient practice of scoring and faceting the edges and under side of the upper basin so 176 SPANISH GARDENS AND PATIOS that the thousand little high lights thus created may be reflected and magnified in the pool below. Planting is entirely green—clipped box and cypress trees. Washing- ton Irving, who had lodgings in the abandoned Alham- bra, was specially fond of this spot. ‘Here,’ he wrote, “the twittering martlet, the only bird sacred and unmo- leSted in Spain because it is believed to have plucked the thorns from Our Saviour’s crown as He hung on the cross, builds his nest and breaks the silence of these sequestered courts which were made for oriental enjoyment.” The other patio buried in the heart of the building is that of the Reja, on the north side; very diminutive, built in 1654. Its name refers to a window grille through which the imprisoned Jane the Mad (‘fuana Ja Loca) is said to have looked out during her enforced residence in the Alhambra. The pavement of patterned Stone is specially beautiful. In the corners are circles of earth from which rise lofty cypresses; additional green is supplied by potted bamboo plants. Off to one side and thus placed in order to be visible from the ad- jacent patios, is the marble fountain. Further interest is supplied by the wooden spindled gates which connect with the ground-floor chambers of the palace. ‘These gates are a very Spanish feature—an eccnomical inter- pretation of forged iron and found in gardens and in the poorer churches. Enclosing the north side of this little patio and at second-Story level is an open gallery com- manding a sweeping view over the Albaicin Hill. For its construction, Moorish columns and capitals were brought THE GARDEN OF DON JOSE ACOSTA 177 from demolished courts. Spaniards never missed an op- portunity for introducing this sort of promenade gallery, attractive in itself and open to both the garden and the distant landscape. Of the Alhambra palace we say nothing. As a Moorish monument in a European country it is interest- ing and even beautiful, but the majority of Europeans (we use the word in reference to race as opposed to Asiatics) feel no sympathy with the much cusped arches, the never-ending wainscots of polychrome tile all in the prescribed Mohammedan patterns of interlacings and arabesques, and the highly coloured plasterwork of the walls repeating these same interminable geometric de- signs. Somehow it does not appeal to our more sober northern taste. Its ready adaptability to café and dance- hall decoration puts us who are essentially domestic by instinct out of sorts with it. It represents the artiStic decadence of the race that built it. Had the ChriStian régime in Cérdova and Seville, which were won two and a half centuries before Granada, left us a single un- tampered-with relic of the earlier Moorish period when azulejos were used with restraint and yeseria was proba- bly not painted at all, we might feel more in harmony with it. THE GARDEN OF DON JOSE ACOSTA We are fortunate in being able to illustrate one new Granada garden, not only for its beauty but also because it shows how happily the old Andalusian type may be combined with certain features of European gardens in 178 SPANISH GARDENS AND PATIOS general. It is the creation of the painter, Don José Rodriguez Acosta. Admiration of antique sculpture has led Sefior Acosta to Study how it could best be intro- duced into the typical local setting. He chose his site on the precipitous southern slope of the Monte Mauror, close to the Alhambra. This was the ancient Campo de los Martires, legend making it the scene of early Christian persecutions, and later, of the dungeons where were thrown at night the Christian captives who worked on the Alhambra. Structurally the garden is Andalusian. Great stepped retaining walls follow down the hillside, garden courts are enclosed by arcaded walls similar to those already described in the Generalife, and parts of the garden lie in the embrace of the house itself, as at the Alhambra; but all this is much more achite¢tural than in the proto- types, displaying, indeed, an extraordinary appreciation of ancient Roman building principles. Andalusian tradi- tion is departed from by the introduction of garden sculpture, a columnar exedra, and a general use of the orders. There are no polychrome tiles, and in truth their introduction would seem trivial in the monumental scale of things. The planting is wholly green, cypress and box. Water is not running and rippling in the more Spanish fashion, but lies in quiet pools, and the only colour these reflect besides white and green is the deep blue of the southern sky. As this garden is Still unfinished it is somewhat unfair to the owner to illuStrate it; at the same time it is too promising and too inspiring to be omitted. THE GARDEN OF DON JOSE ACOSTA 179 Further along this same southern slope is a villa or Carmen with a fine terraced garden, known as the Carmen de los Martires. It is a mid-Victorian inter pre- tation of Andalusian, most interesting for its orange terraces and the use of potted plants along the parapets. In recent years it has become quite overgrown and form- less, but many beautiful little spots can Still be found. 181 THE MASSIVE WALL ENCLOSING THE GARDE OF DON JOSE ACOSTA ON THE SLOPES OF MONTE MAUROR, GRANADA View from the road 182 THE ARCADED WALL OF THE ACOSTA GARDEN SEEN FROM THE ROAD THE ACOSTA GARDEN DEPARTS FROM THE ANDALUSIAN TRADITION BY INTRODUCING CLASSIC ACCESSORIES THE ACOSTA GARDEN. TEMPLE AND ARCHWAY OVERLOOKING GRANADA oles ERNE OND ERRA NEVADA BEY ED WALL AND THE SI THE STEPP THE ACOSTA GARDEN. 186 eas: sate Eee, AIR. 2m: POOL IN THE ACOSTA GARDEN iness h the heay iminis The lofty wall is perforated by arches to d = GBP we ry = how —~\ 5 a. — = eA Ml a) san “se He em eo fest ™ —< " t :) J ; Hae . ‘ ‘ > iw ; Snare | . - a & CZ &; Z | # MH 4 Nt Q — p THE ACOSTA GARDEN, A STUDY IN RETAINING WALLS pear ea sveLL ; HE ALCAZAR GARDENS, SEVILLE heal hee ae, : ys a 1 & i K ENTRANCE TO THE ALCAZAR GARDENS WITH AN OVER- PORTAL IN BLUE AND YELLOW TERRA COTTA CHAPLER: VII THE ALCAZAR GARDENS, SEVILLE EVILLE offers, in the park of its 4/cazar, the most complete early Spanish example of the level type. In addition the city contains the gardens of the Alba and Medinaceli palaces and the modern Parque de Maria Luisa ; while in the way of very small gardens and patios there are any number that will amply reward the searcher who is bold enough to bribe his way into them. From classic times the site of the Alcazar has been important in the history of Seville. After the Romans, the Moors built their citadel (Arab, a/-Kasr) here; this was towards the end of the twelfth century, Seville’s most prosperous Moorish period. Of this building nothing remains. Its precincts were vast, having ex- tended down to the Guadalquivir and included the ground now occupied by the Fabrica de Tabacos, the Palacio Santelmo, and the Torre def Oro. For the re- building of the destroyed Alcazar Peter the Cruel (1350 -69) deserves the credit. As his architects and craftsmen were Moors and as the palace is proof that they were following their own oriental tradition in architecture, we may safely presume that the garden they made for him was also after their own manner. How much of their layout was preserved by Christian monarchs can never be more than a matter of conjecture. 19I 192 SPANISH GARDENS AND PATIOS Charles V meddled with both palace and garden ; con- sidering that practically all the tiles seen in the latter date from the sixteenth century and onwards, one would not be far wrong in assuming that Peter the Cruel’s had less of them and was thus truer to precedent. Within the palace, however, and dating from his time are fine early examples—cuerda secas, cuencas, and even mosaics —which those who are interested in old tiles should not fail to examine. ‘The garden was again remodelled but only in part by Philip IV and Philip V. The latter is said to have added a fish-pool; if this means the main pool on the uppermost level it is likely that it was on the site of a former reservoir, for from this point the whole garden is, and apparently always was, irrigated. As to scheme, it is chiefly absent. The layout is made up of the usual series of walled enclosures falling haphazardly in line. Even with so much ground at their command the gardeners never thought of creating long vistas nor planting alleys of trees. The main point to observe in the plan is that the enclosures nearest the palace are smallest, averaging seventy-five by a hundred feet, and admitting of more intimate treatment; while in the larger ones the set-out plot units remain much the same, but are repeated in order to fill a given area and thus keep all in the same scale. Where the plan shows, as it does on its outer edge, greater motivation, even the layman's eye will instantly detect the eighteenth century. Of the vapidity of those decadent << Philippine days” nothing could speak more eloquently than the ambitious THE ALCAZAR GARDENS, SEVILLE 193 but fortunately unfinished project in the northwest corner beyond the courts of Maria Padilla. The Alcazar grounds are entered at the uppermost level, which brings one immediately to the main irriga- tion pool, backed up by the rococo wall or rather, rococo facing to Peter the Cruel’s fortified wall. From this eminence one descends at once to the main level. The first parterre parallel to the palace is known as the fardines de Maria Padilla. Opening on this are the several vaulted grottos where, if legend be true, this mis- tress of Peter the Cruel used to bathe. The paths of contrary axes lead to the so-called baths of Jane the Mad and the pavilion which her son Charles V built. The Padilla parterre and the plaisance of Charles V are, to our mind, the be&t of the Alcazar Gardens. These gardens, being fairly large, offer a special chance to appreciate the effectiveness of long Stretches of pleached white walls. ‘Those contiguous to the palace extend up to the second-Story terraces, and their tops are turned into promenades and provided with a continuous parapet seat. Thus the inmates might Step out and walk through the garden at second-Story level, so to speak. Where walls of different height abut, the two levels are connected by parapeted Steps. The top of the north or fortified and buttressed wall is likewise connected with the palace terrace by means of an arched passage over the entrance to the gardens; while the arcaded gallery built in the thickness of the wall can be reached either by a Stair from the garden or a passage 194 SPANISH GARDENS AND PATIOS from the palace. Facing south, as it does, this wall gal- lery is sheltered from cold winds in winter and hot sun in summer —a practical as well as a decorative feature. Although none of the garden walls have fine iron or wooden gates there are several recessed window openings, treated in tile, that are particularly beautiful. The only decorative accessory is the azulejo. Indeed, these gardens are a veritable museum of fine mellowed sixteenth-century azulejos; yet for all their prodigality there is a reStraint as compared with the new Sevillian work. This is particularly noticeable in the pavements, mostly in unglazed dark red without coloured insets. On the other hand fountains, basins, benches, stairs, and the Emperor’s pavilion, are all in polychrome. Best among the fountains are those at the intersections of paths—low, star-shaped, and treated in yellows, greens, and blues. These appear to have been taken as the model for every new fountain placed in Seville in the last ten years. The polychrome bench is here seen at its best because, being of considerable length, it has not the abruptness of the short park bench of three or four seats. In combi- nation with walls that measure from fifty to seventy feet long, or set against an equally long hedge, it almoést achieves monumentality. Near the pavilion so often referred to is a rond pont featured with a circular bench in four sections, which is particularly interesting for its colour. Unbacked, the bench is set against a high mass of box, with whose deep green the brilliant yellow, blue, and light green sixteenth-century pisanos make delight- Ae Photo Lacoste GENERAL VIEW OF THE ALCAZARZGARDENS, SEVILLE, SHOWING THE WALL PROMENADES awe eM, he See 196 Photo Lacoste GENERAL VIEW OF THE ALCAZAR GARDENS TAKEN TWENTY-FIVE YEARS AGO BEFORE NEW TREES WERE PLANTED eA si LAUT We Dy ey (Zoe fe | uy ( ing’ } = a st — i = ; HN f i = qyp® SEVILLE eee GARDENS aan of the y rast ] =| fe | E ~ =| s, 3 S = = w : 7; I , by HUN PLAN OF THE ALCAZAR GARDENS Double walls indicate a promenade on top THE ALCAZAR GARDENS. POOL AND ENTRANCE LOGGIA ah, SRR, RIE He A PAVED PATIO BETWEEN TWO PLANTED PLOTS. THE ALCAZAR 200 yh y at ? ¥ - E PALACE MARIA PADILLA, ADJACENT TO TH ARDEN OF G VRC i THE ALC THE ALCAZAR GARDENS. PLANTING FORMS A GREEN BACKGROUND FOR THE POLYCHROME TILE ACCESSORIES 202 Lf a BROS PROSE EIR. PURPOSELY CREATED TO ADD INTEREST DIFFERENCES OF LEVEL HAVE BEEN THE ALCAZAR GARDENS. 203 THE WALLED ENCLOSURES ARE CONNECTED BY GRILLED OPENINGS THE ALCAZAR GARDENS. a Ae é, “ Le RITA etree BABE rai Eger een a, Pr. term a: * PSA™ Rear Mae fA "KE « a. oy #t* "4 Ae SeH Ty" +: GALLERY IN THE THICKNESS OF PETER THE CRUEL’S WALL HE ALCAZAR. T r A sheltered promenade overlooking the gardens THE ALCAZAR GARDENS. PAVILION OF CHARLES V The coloured tiles are among the finest in Seville THE ALCAZAR GARDENS. BAROQUE PAVILION AND THE SO@CALLED POOL OF JOAN THE MAD THE ALCAZAR GARDENS, SEVILLE 207 ful harmony. The French gardener who arranged the Ronda place already illustrated did something of the same sort with very good results. As a tile creation the Emperor’s summer house and the court in which it Stands are a chef-d’euvre. The former we have described, calling attention to the fine lustre tiles, of which not many remain to-day in Seville. It is set in the centre of the court covering about half an acre, and this whole space is paved with unglazed red tiles laid in herring-bone. Innumerable little circular beds for orange trees are edged with coloured tiles, and around the enclosing wall runs a continuous tile bench. The trees, well clipped into spherical form and neatly set in their round earth pockets, appear dwarfed, as if they belonged to an embroidery or tapestry. When thick with fruit nothing could be more decorative than the golden green spotting in conjunction with the coloured tiles. As a garden this spot has somewhat the quality of a primitive painting—perhaps for the same reason: it has zo drawing, all is off axis and askew for no apparent reason, yet the result is charm. Commenting on the plan of the Alcazar gardens it was observed that the walled enclosures nearest the palace (de Maria Padilla) were smaller and treated more intimately; meaning that they were more like outdoor rooms. As an extension of the living apart- ments they were kept very formal, mostly in tiles. Practically the only planting is against the white walls, which are made beautiful by vines and pleached trees. 208 SPANISH GARDENS AND PATIOS The only bloom is that provided by potted plants set freely about (ex passant, the large pots of cream glaze with the royal arms in blue are commendably unpre- tentious and do not try to rival the polychrome of the tiles). The first section, practically flowerless except when its immense and very impressive oleander tree is in bloom, offers an enchanting play of soft colour as one enters from the upper level—glossy, purplish green in the oleander leaves, waxy yellowish green in the lemon trees, and all the shades between; brilliant yellow and blue in the tiled fountains and benches, and their reflections in the broad basin heightened by the potted carnations that Stand around. Out of these simple ele- ments plus a few lordly peacocks a masterpiece of colouring has been created. A great deal of interest is added to these courts by their being at slightly different level and connected by tiled Stairs. The whole garden terrain was probably equally flat, and these differences were intentionally created. Another effective detail that deserves mention and which we also suspect to have been intentional is the slight deflection of the main axis; by this trick, in the long vista through the several patios one always gets one side of the arched reveal beyond inStead of merely the blank opening. In the next and much larger parterre parallel to the Padilla, planting is the main feature; eight big plots set out in mazes of box and myrtle. These mazes are of every conceivable design, geometric and scroll. Here THE ALCAZAR GARDENS, SEVILLE 209 are found the previously mentioned insignia of the military orders outlined in box. Above these densely planted beds rise lofty date-palms—the whole forming a green shade garden. A more attractive garden than this of the Alcazar is hard to imagine. Wandering through it one feels the childish simplicity of the plan and is convinced that it must date back at least to Peter the Cruel’s reign, if not earlier. Charles V’s half-trained Spanish Italianists, had they Started with virgin soil, would have attempted an ambitious partie and felt it necessary to dissimulate the irregularities of the site by some recognized aca- demic solution. Confronted by an existing Moorish layout, they wisely took the line of least resistance and did but little to modify it. Philip IV and Philip V’s gardeners were less prudent; their trivial rococo revet- ment, @ /a Boboli, to the Sturdy old medieval wall and their effort to Louzsize the garden area to the west are distinctly unpleasant anomalies. GARDENS OF THE ALCAZAR. STAIR OF POLYCHROME TILES BUILT IN THE THICKNESS OF THE WALL AND LEADING TO A PROMENADE GALLERY ON TOP VIII GARDEN OF THE DUKE OF MEDINACELI, SEVILLE GARDEN OF THE DUKE OF ALVA, SEVILLE CHAPTER VIII GARDEN OF THE DUKE OF MEDINACELI, SEVILLE GARDEN OF THE DUKE OF ALVA, SEVILLE HE two most important old Sevillian palaces with gardens are known popularly as the Casa de Pilatos and the Casa de las Duefas. The first belongs to the Duke of Medinaceli, the second to the Duke of Alva; two ancient titles by the way, which head the list of Spanish nobility. Intermarriage of these two ducal houses with the powerful Ribera family of Seville explains the present ownership. In the late fourteenth century the Riberas, who lived in princely $tyle, bought the Duefias mansion, its owner having to sell it in order to ransom his son from the Moors of Granada. The new owners continued the building on a magnificent scale and at the same time built the Pilatos Palace, which was supposed by Sevillians of the period to be a copy of that once occupied by the Roman governor of Judea. It is the garden of this latter that first claims attention. If built in any other country in the sixteenth century both houses would have been in the Renaissance Style and accompanied by Italian gardens. In Seville, where architects and gardeners were Moors, all isa mingling of Moorish and Christian elements. In each case the palace plan is the usual grouping of rectangles around open patios, and the embellishment, except for a few marble details, is in azulejos, yeseria, and Moorish carpentry in 213 214 SPANISH GARDENS AND PATIOS the form of artesonados and panelled doors and shutters. The Renaissance marble entrance to the Pilatos was ordered from representatives in Seville of the Genoese marble ateliers and shipped from Genoa, along with the famous Ribera tombs, to the city on the Guadalquivir ; but it is significant that the shipment did not include the charac- teristic Italian garden embellishments of the day. The main patio of the Pilatos house has no planting, for which reason it is less attractive than that of the Duefias; on the other hand, the gardens surrounding the house are finer. THE MEDINACELI GARDEN The gardens, representing but a fraction of the original grounds (which suffered bombardment in the uprising of 1840), consist of two distinét parts, the tiled to the southeast and the green to the northwest. The former is distinctly Andalusian, the latter European in a nondescript but very agreeable way. The Andalusian might be described as a Spanish triumph in back-yard treatment, for the space devoted to it abuts on the rear of a Street of humble dwellings. It is surrounded by an exclusion wall, all white like the house; this averages twenty feet in height, leaving little more than the pictu- resque rooftops of the neighbourhood visible. (Madrid might learn a useful lesson here; hardly a palace in the capital but has sixty-foot ‘spite walls’? on one side at least of its grounds, which, even could they be made things of beauty per se, would rob any garden of scale.) The Sevillian wall in question is surmounted by a cresting and is screened by bougainvillea and black-Stemmed bamboo, THE MEDINACELI GARDEN 215 always particularly decorative against white. The tiled garden at its base is divided into five panels, three of planting, one wholly of tiles, and one given over to the pool (estanque). Little attempt was made by the designer to compose them either in relation to each other or to the house. Rather they appear to have been laid out much as one would spread fine old rugs on a floor of ir- regular perimeter, without the least concern over the resulting discrepancies. To simplify description these panels have been lettered on the plan. | Panel A is a Study in limited planting and coloured earths—eight garden-plots on a court of brilliant yellow clay. Around each plot is a double curb, blue tile and brick, and between the two, deep reddish earth sparsely planted with freesia. Set inside of this further to define the centre is an edging of green wooden hoops on whose outer side are planted little toylike clumps of myrtle kept down to six inches. The centre itself, of rich black earth, contains a variety of shrubs and flowers, among the latter violets, begonias, and sweet lavender ; in the corners of each bed and not visible in our photographs of three years ago, are large rounded shrubs. There is no tile fountain or basin; the only feature introduced by way of adornment is the Statue at the far end against the vine-covered wall. This is one of the large collection of Roman antiques brought back in the latter part of the sixteenth century by Per Afan de Ribera, Viceroy of Naples. 216 SPANISH GARDENS AND PATIOS Panel B is wholly taken up by the pool. Some twenty by thirty-eight feet, it is built of cement with a rounded coping. At the wall end is a fragment of sculpture and the water surface is largely covered with large, flat lily leaves. Dark ivy and brilliant nasturtiums outline the whole pool. In Panel C we have a tiled garden at its beSt. The entire area is paved, permitting no other planting than that of a small date-palm in each corner. Flat red tiles laid basket-weave with coloured insets were used for the pavement. Built-in features consist of the flat central fountain, the tiled bench along the pool-side, and oppo- site, the white retaining wall edged with green tile, of the corner panel which lies four feet higher. In this wall and on axis with the fountain is the double flight of Steps leading up. To emphasize the artificiality of this panel, there is no planting against either the low retaining wall nor the high enclosing wall at the back. The pavement is frequently wet down during the day and glistens like a jewel. ‘‘Smart”’ in its mos modish sense is the only suitable adjective thoroughly to describe this area. Panels D and E are laid out with yellow clay paths and trim garden-plots edged with blue and white tiles. Ground ivy and myrtle make the borders, and the centre is densely planted with herbaceous shrubs. The few Roman and Moorish columns placed about blend harmoniously. This is a precious bit of Andalusian gardening, and THE MEDINACELI GARDEN ra GF for its reStoration the Duque de Medinaceli and his archi- tects are to be congratulated; also for rescuing from threatened ruin the beautiful Renaissance iron reja which used to guard a window in a small and obscure rear patio and has now been brought out to a position more worthy of it, facing panel A. The green garden to the northwest of the house is also to be admired, but is far less Striking than the one just described. Like the loggias of the palace which so agreeably face on its several axes, the arrangement of the plan reflects Italian influence; in the details of planting and paths, however, we see the local tradition. The tiled paths are set almoSt a foot above the general level to permit of irrigation; and with this same end in view the earth is banked in patterns like miniature labyrinths. With the planting practically limited to deciduous shrubs and trees the garden has a quite European look. ff a 219 ° 10 SCALE OF P90 __3o FEET PLAN OF THE DUKE OF MEDINACELI’S PALACE AND GARDEN, SEVILLE a puke d ‘OD ‘ad ‘y sjojd Jurmoyg AOWVIVd VTAOVNIGAW AHL dO SNAGUVD UVAU ‘NVTd TIV.LAG are soe Eis =A Se SS eS. ta ea Phe cere HA {Ubi hi fl ist Wawees eantan we S58 552 ~ eee eer ere SPITS. aaa |S a a => i ae OS" Ti 63 Yule x a My bbbethdehih >| MIF PELL. ‘ el el arars Tn YY 4 NS a . . \N sis Y” 2 » = -_ y tous onl he = ri ee Eee a eee ab, THA rte See eA (Ps EE 8 Bae eee SEC es a Ee Wee A AE AD VA Li AS ART A EGA ECE HU VII bP NIH (VL ih EA Hil wil i il HAAN Wt al | GARDEN OF THE MEDINACELI PALACE. PLOT A Paths of tamped yellow clay and beds of black loam edged with coloured tiles PE NCRAS ag THE MEDINACELI GARDEN. PLOT B A long narrow pool edged with ivy and nasturtiums q "N€AGUVO TIAOVNIGAW AHL WUNFII) Papa URT[[IAIg Iq) Jo saydurexa yuaTaox d GNV O SLOTd 9a[ suoiqoAjog O LOTd dO STIVLAG ‘NAGUVD ITAOVNIGAW AHL PRISE RTS sani Seana on ERRNO em FA nt he Ag ne ee Meda SaaS: { us i : ae ALLA SEE RR rw : 4 8h ah Sn Sa oo THE MEDINACELI GARDEN. . PLOT E A clay court set out with beds of close-clipped planting to simulate grass 226 Tesi -) ¥ ¥ { : Pe : SARE 9 ert , | g seers THE MEDINACELI GARDEN. PLOT E A combination of free planting and tile accessories Cr RO me De Lika Hee) UB) Hela ie eo GARDEN OF THE DUKE OF ALVA The Alva palace is usually referred to by the name of the small Street, Ca//e de las Duefias, from which it is entered. According to records it was once of much greater extent and contained no less than sixteen patios. Now it has but two. Perhaps, like the Pilatos palace, some of it was demolished during the uprising against Isabel II, and the large forecourt, so rare in Spain, where palaces were placed flush with the Street, may once have been occupied or enclosed by buildings. Neither forecourt nor fagade is specially interesting; in Moorish fashion the attra¢tions are reserved for the in- terior patios and the gardens behind. As seen in the plan, the forecourt is laid out in a planted oval bisected by a Straightaway. Around the sides and banked thick against the walls are pepper trees, lantana, acacia, and Spanish gorse. Against the house-wall, to the right on entering, is a fine tiled watering-trough, an old-time necessity which in Spain has not yet given place to the gasoline pump. Passing through the sanded zaguan or outer vestibule the principal patio is entered. This is Moorish in full decadence, rich and luxurious; a little museum of ‘all that Moorish artisans were producing in the sixteenth century for Christian masters and hence classified like the Pilatos patio as Mudejar—carved plasterwork, wooden ceilings, and azulejos. As to this last item, those who are intereSted in Moorish lustre can see in the family chapel to the left of the patio the finest tiles 228 SPANISH GARDENS AND PATIOS with gold reflections (reflejos metalicos) left in Spain. The patio garden is simple in contrast to the architecture. Paths are placed on the diagonal, thus not calling at- tention to the fact that the entrance is off centre; at their intersection is a built-up basin of coloured tiles around a marble fountain. Originally the paths were laid in mosaic of polychrome marbles. When it became necessary to repave, unglazed brick was used, but a few panels of the mosaic were saved. As seen in the bird’s- eye view, planting is reduced to a minimum. Beds are of black earth and outlined by dwarf box. Ancient date-palms tower high overhead, at their base a circle or Star-form planted in lilies. The intervening area is neatly dotted with little tufts of dwarf juniper. All is set out and kept up with great precision. Lining the parapet of the patio are hundreds of flower-pots, whose contents vary with the season; in either carnation or chrysanthemum time they form a veritable cresting of brilliant bloom to the wall. A minor patio off to the left has never been re- furbished and is none the less attractive for that reason. Surrounded by a plain brick pavement is a mellowed old basin built up of emerald green and purple tiles. This colouring along with that of the raised violet beds is in delightful contrast to the immaculate walls. To the right of the entrance-patio is a typical Span- ish screen-wall separating the house from the grounds. Through its several grilled openings nice perspectives may be obtained of the garden beyond. This is quite Gr BuO CeO Eo Lin be DUKE OR A LV AL 229 informal and consiSts of four main plots with the usual fountain in the centre. The beds, outlined with hedges and shaded by lofty palms, supply the cut flowers for the house. Passing around the Staircase wing and by the pool, one enters the irregular garden precin¢t at the rear. Here planting consists almoSt exclusively of orange trees, and to permit of their constant irrigation, the paths are raised high above the level of the ground. Along the walls of the house are pleached geraniums growing to a height of twenty feet. Azulejos are con- spicuous by their absence, and the whole effect is that of a rustic grove rather than of a city garden. In examining an Andalusian plan it muS&t be re- membered that the house is divided horizontally into summer and winter quarters. Into the lower or summer Story very little outside light and no sun are allowed to enter. Nearly all the openings give onto the patio, whose planting and fountain help to cool the air. The lower rooms themselves often have floor fountains whose open conduit leads out to the patio basin. In the case of the Duefias plan the large dining-hall across the back has the benefit of both the patio and the garden, one end, that towards the pool, having been left open in the form of a loggia. oe! a ETCH PLAN. A DEL DVQYE DEAL) PLAN OF THE CASA DE DUQUE DE ALVA, SEVILLE From ‘‘Spanish Architecture of the Sixteenth Century’’. Permission of the Hispanic Society of America 232 E A PALAC ALV ARDEN OF THE FRONT G le Watering trough of polychrome t 8 PRINCIPAL PATIO OF THE ALVA PALACE Diagonal paths divide the court into four plots outlined with dwarf box 234 tf ee i ae 6 ee ee ats Seseeneentnelieasneedie mene Reo re WITH IRON GRILLES TOWARDS THE GARDEN TIO, r THE ALVA PA paxod qiim yno jas si jodesed sjoqm oy 1, ot sjueld OILLVd VA'IV AHL ONINOOTHAAO AUATIVD r A MINOR PATIO IN THE ALVA PALACE Planted with bougainvillea and violets THE ALVA PATIO SEEN FROM THE GALLERY Grass being difficult to grow, the plots are dotted with d lumps like “‘hen and chickens’’ iminutive c RDENS OF SEVILLE AND CORDOVA 5s CHAPTER: [X SOME GARDENS OF SEVILLE AND CORDOVA PARQUE DE MARIA LUISA, SEVILLE HE modern Pargue de Maria Luisa has recently been prepared for the mse en scene of the Span- ish-American Exposition. ‘The whole extensive area known by this name was once the garden of the Duc de Montpensier, brother-in-law to Isabel II, and surrounded the great Baroque palace of Santelmo. Tow- ards the end of the last century his widow, Maria Luisa, presented the palace and the grounds nearest to it to the Archbishopric of Seville, and the remoter and larger portion of her nondescript park to the public. This was known as the Park of Maria Luisa. When Seville decided to arrange a Spanish-American Expo- sition the upper part of this park was chosen as the site. Building and garden-making were at once begun, but the Great War appears to have deterred indefinitely the opening of the exposition. All the preparations are in true Andalusian character; and if one feels that the build- ings are perhaps too intensely regional, not so the gardens. In these, as said, a Frenchman, M. ForreStier, col- laborated. The same expert is now busy metamorphos- ing the once barren side of the Montjuich, Barcelona, into a public garden of great distinction. The problem at Seville was to lay out in the Andalusian manner an area vaster than any existing prototype; also to make it public in character and provide it with long drives and 241 242 SPANISH GARDENS AND PATIOS esplanades; yet to conform more or less to the previous layout, thus avoiding the expense of unmaking the old before Starting the new. The solution is most creditable. The designers have given Seville what it never possessed before—a truly Andalusian public garden, enjoyed by all classes (who here know how to be happy in a park with- out bandstands, merry-go-rounds, cages of unfortunate wild beasts, soda-water fountains, and other embellish- ments which in certain countries are considered indis- pensable to mass recreation). Although the Andalusian garden is usually without architectural features, one such indulgence—the pergola —was permitted here. Used sparingly without orders, it is merely a succession of square pillars surmounted by equally simple wooden beams. In every alternate bay are Stucco benches, and their edging of green tiles and the lozenge-shape tile insert in each face of the pillar are the only decoration. The vines at the base of the uprights are interestingly confined in a trefoil formed by three common roof-tiles imbedded vertically. Another departure from precedent is the large estanque, perfedtly rectangular and with an island of the same shape in the centre. Both borders of the water are accentuated by a stout brick coping, that of the island holding an un- broken row, hundreds and hundreds, of potted plants. The surface of the water is covered with lilies and frog- bit. While this pool is larger than any other in Anda- lusia there is no doubt that it was suggested by the little water garden, or Court of the Cypresses, at the Genera- PARQUE DE MARIA LUISA, SEVILLE 243 life, whose rectangular simplicity and rows of flower- pots it repeats. The tile fountains in the park are for the most part well designed, low and broad (as much cannot be said for the marble Fountain of the Lions—poorly carved, and the beast too realistic). Some of the polychromy is too garish, but in this matter it is probable that the over- enthusiastic tile-manufacturers of Triana had their say. A tile innovation that attracts, and justly, much attention is the outdoor reading-room. Not so much for its de- sign, which happens to be excellent, but for its purpose. An exedra, to the memory of Cervantes, who spent weary months in a Sevillian prison, it tells the adventures of his fantastic hero, Don Quixote, in a fine series of burnt-clay pictures, while at each side of the seat is a tile book-Stand where repose vellum-covered volumes of the great novelist. These for the mental refreshment of the loiterer; and not chained like the old-fashioned park tin cup, but at the disposition of all—richman, poorman, beggarman, even thief. This charming and respected corner makes our own park nooks, all too often bestrewn with hideous comic picture supplements and the other débris of ‘‘nature-lovers,’’ exceedingly sad by contrast. Worth a line or two before leaving the Parque de Maria Luisa is the picturesque uniform of the guardians -—the traditional dress of the Spanish game-keeper, brown with green facings and leather accessories. The tasselled leggings buttoned only at the ankle and the top particularly engaged the attention of Théophile Gautier, 244 SPANISH GARDENS AND PATIOS likewise the broad-brimmed hat with green cockade. Something about the nicety of design and emphasis of small items makes this uniform specially appropriate to the Sevillian ‘‘park police.” EL JARDIN DE MURILLO, SEVILLE Another but very small public garden has recently been made, called the Murillo Garden. On this site the idolized Sevillian painter is supposed to have lived; certain it is that he was buried in the church of Santa Cruz, now demolished, which Stood nearby. A few at- tractive box-bound flower-beds, good tile fountains and seats, make up the typical composition. The most notable item is the caretaker’s lodge which we illustrate —a nice bit of design in the spirit of the modern re- vival, carried out in white Stucco, and adorned by fine iron window rejas. Potted plants, the reserve supply for the garden, are set about with great prodigality. Those who enjoy looking into small details will be in- terested in the iron rings in the fagade and again at each side of the rejas for holding flower-pots. These can also be seen on many an Andalusian balcony. EL MUSEO PROVINCIAL, SEVILLE A small garden carried to a high degree of finish, and beautiful in the special way that certain highly finished old paintings are beautiful, is that of the Museo Provincial de Bellas Artes. Until the DiseStablishment of the Monasteries (1835) this was the Convento de la Merced, and the garden referred to is in the southern- MARIA LUISA PARK, SEVILLE. CYPRESS ARCH Leads to the stucco pergola cy. a PE MARIA LUISA PARK. RGOLA IN WHITE STUCCO sets are of green tile ‘he in | 247 THE MARIA LUISA PARK. LILY POND AND ISLAND The curbs are made of moulded brick A WINTER VIEW OF LILY POND AND ISLAND IN MARIA LUISA PARK “ILE SEAT RED T D BY A COLOU INE ‘ GLE DEI UISA PARK. QUADRAN 4 MARIA I MARIA LUISA PARK. OUTDOOR READING ROOM Dedicated to the celebrated novelist Cervantes, and executed in coloured tiles which illustrate the history of Don Quixote 252 SPANISH GARDENS AND PATIOS NUMBER 8, GUZMAN EL BUENO, SEVILLE As a specimen of the small city garden, and one more or less similar to many others in Seville, we il- lustrate that to the rear of the Osborne palace at No. 8, Calle de Guzman el Bueno. Portions of the house date from before the Christian reconquest, but the garden would not be anterior to the seventeenth century. It con- sists of two plots embraced on three sides by the house and its wings. One motif is square, the other oblong; be- tween the two is a triple-arched marble screen with a delicate iron grille. For the rest the composition con- sists of polychrome tiles and dark-green garden plots. Flowers, except those in pots, hardly enter into the scheme. In each enclosure isa tile fountain, and against the far wall—that separating the adjoining house—a tiled bench with tall panel behind. In the arcaded gallery that surrounds the garden Stand fine old pieces of Span- ish furniture, and on the walls hang some excellent canvases by seventeenth-century masters, the contem- poraries of Velazquez and Murillo. These help to give the garden that lived-in aspeét which Sevillians may properly regard as their own special achievement. GARDEN OF THE MARQUES DE VIANA, CORDOVA Our remaining small flat garden is found not in Seville, but in Cordova: Calle de las Rejas de Don Gomez, palace of His Excellency the Marques de Viana. The curious name of the Street refers to a legend wherein the three large grilles of the Viana wall figure promi- nently. The palace dates from the sixteenth century, THE VIANA GARDEN, CORDOVA 252 but the garden appears much more ancient. It probably Tepresents a small fraction of one of the large Moorish gardens for which Cordova was celebrated in the eleventh century—places where exotic flowers and fruits from distant India grew in profusion, where water gushed over quicksilvered glass to glisten in the sun, where rare birds of brilliant plumage, invisibly netted, darted about. Hard to visualize in the decayed city of to-day! With the exception of the great Mosque, and this sadly tampered with by ChriStian zeal, scarcely a vestige of Moorish architecture remains; and as for palace gardens, we are reduced to the single small example illustrated. The Viana palace Stands on the north part of the town, near the Convent of Santa Isabel. From the street one enters a spacious patio arcaded on all sides, the entrance being ingeniously arranged in a corner. At once the eye is confronted with an entirely new pict- ure ; no polychrome tiles but colour supplied instead by bright-yellow kalsomine. Stone columns of the arcade are thus painted, likewise string courses and cornices. The plants around the central fountain grow from glazed yellow pots. No other colour enters into the scheme. Under the arcade is a beautifully laid walk of black and white river Stones, and the open court is of coarse white gravel. Everything here is as orderly and as polished as a ship’s deck. To reach the garden one has to pass through the palace, a Moorish way of doing things which did not in the least disturb the Spaniards. As seen in plan it is 254 SPANISH GARDENS AND PATIOS arranged on the principle of a series of open-air rooms, surrounded by lofty walls eighteen or twenty feet high, and the enclosures approximately forty feet square. The first, de /os Naranjos, is set out with orange trees whose foliage is trained into a dense screen overhead ; the black soil is carefully banked for irrigation with a not undecora- tive result. The second, de /as Rejas, is devoted entirely to potted plants set about in groups on the brick pave- ment, and the only visible earth is that at the base of the walls where vines are planted. The third enclosure has a beautiful central group of cypresses trained in the form of a Gothic arcade and enclosing a marble fountain ; off in each of the four corners is planted a huge semi- circular clump of box. Here, too, there is a simple brick pavement. Access from one enclosure is by means of wooden rejas painted with blue kalsomine and the walls are covered with bougainvillea, its deep green and bright purple moSt effective against the white. The white facade of the house itself is set off by ultramarine blue cornice and String course, while the woodwork, such as shutters and sash, is painted green. At the level of the piso principal and extending almost the entire length of the garden is an imposing iron balcony ; this, too, is painted green except for the repoussé motifs of lions and castles, which are gilded. From this balcony one gets charming views of the garden in combination with the attractive rooftops of the old town beyond. A visit to this garden in summer, and one readily appreciates the razson d’étre of its walls. Except when THE VIANA GARDEN, CORDOVA Ze the sun is on the meridian they are always casting a welcome shadow. Lofty though they are, one never feels shut in, for besides the generous archways connecting one patio with another there are additional small open- ings in the form of recessed windows: also the three large ones overlooking the Street and barred by the « Rejas ’ de Don Gomez.” It will be noted that this Cordova example, in contrast to those examined in Seville, is devoid of azulejos. The smaller towns of Andalusia supply little of im- portance in the way of real gardens; here and there, as at Ecija, Osuna, Jerez, Cadiz, pretentious patios of considerable architectural merit and good planting may be found ; but what the lesser towns chiefly yield would be small patios and garden details of a simple pictu- resque quality. 256 era ee || eee Hi ee oe BRAG i | GIGI: hi y a Fa Fi | mae) | UI Ee i ie i (|| AUG; i a vi Hi if \ HV 1 ty lai ! xc ii ‘ s== eos == ——————— il evi i iii’ vy Ht scale Pe. pam es 2SS Cece /INCIAL, SEVILLE. PLAN OF THE TILED GARDEN MUSEO PROVINCIAL, SEVILLE, DETAIL OF THE GARDEN * - 2 6 x ~ a ae tae A ee Se oe mn He rs a Ppl Bade SEVILLE L BUENO E ggia and garden at the rear IN THE CALLE DE GUZMAN x HOUSE Lo CALLE DE GUZMAN EL BUENO Rear garden with seat of polychrome tiles built into the white wall 260 T wSuintiva N HSOsU Ss. 'S Ae DaboA CE NT TWiteaaett MOAT i Annie TE re peste] 5 ‘he; Ee Meats OA Sneed fu ESET ene ATT te ee /) Se Li = pIgaMMnNtc ITM TIM LC GO FEET AO SCALE OF O PLAN OF THE PALACE OF THE MARQUES DE VIANA, CORDOVA The garden consists of a series of high-wall enclosures RESIDENCE OF THE MARQUES DE VIANA. LOGGIA Paved with river pebbles and overlooking the garden ? bi NES WHITE WALLS SOFTENED BY VI THE VIANA GARDEN. GARDEN OF THE MARQUES DE VIANA. LOOKING FROM THE BALCONY One of the paved enclosures whose central motif is a Gothic arcade formed by ancient cypress trees THE VIANA GARDEN. BLUE WOODEN GATE The vertical members are cut with the profile of a spindle TILE PICTURE OF A PICNIC, DATED 1809, FORMERLY ENCRUSTED IN A GARDEN WALL oe PART It ICAL PATIOS AND GARDENS _ OF MAJORCA , VILLA RUBERT, BAY OF PALMA An exedra in the garden overlooking the city ” PART II TYPICAL PATIOS AND GARDENS OF MAJORCA N COMMON with Andalusia, the Balearic Islands have the blue Mediterranean for a background and a North African climate. Mediterranean archi- tecture from Gibraltar to Suez has a certain similarity derived from sun-crisped walls of varying colour, flat roofs, gaily painted accessories, and vine-covered walks. Majorca (Spanish, Ma//orca) has all this and, besides, more serious elements in plenty, for the palaces of Palma, the capital, are an interesting combination of Catalan Gothic and Genoese Renaissance. The natural beauty of the isLand—lofty mountains to the west, a great plain to the east, the sea visible from every point; weirdly twisted olive trees that boast a thousand years, wide-spreading carobs, pines; almond trees that convert the whole island into a cloud of blossoms in January, and orange and lemon trees that live in close intimacy with the house itself—all this form and colour make set planting seem superfluous. Majorcan gardens have their attraction but it is not that of Studied formal planting. A glance at the patios in Palma before going farther afield. We have said that the palaces reflect Catalan and Genoese influence. The old half-Moorish, half- Gothic city was nearly deStroyed by fire in the fifteenth century. As it had even from Moorish days been in close commercial relations with Genoa in particular and 269 270. SPANISH GARDENS AND: PAC. Italy in general, it was natural that the nobles in rebuild- ing their palaces should turn to a land that excelled in the then modern architecture. The sombre facades are imposing though they generally face on a Street no wider than six or eight feet—immense arched portal, beautifully framed Renaissance windows, and an open gallery under the far-projecting eaves. These last are reminiscent of Aragon and Catalonia. On turning into the patio, how- ever, we find a Sturdy sort of Renaissance that harks back to Genoa and Florence but without much Genoese and Florentine refinement. Gothic patios too can be found, saved from the flames or subsequently rebuilt in the old tradition. Though varied in treatment, Palma patios are alike in their ample proportions, all the more noticeable on turning in from the narrow Street. Unlike the Anda- lusian feature, it is not gay and colourful ; not an outdoor room to be lived in. Of solid masonry, it is essentially a practical court leading to the Stairs and used by both family and servants. Architecturally it is more developed than the Andalusian patio. Its Staircase always arouses | admiration ; not enclosed but rising from the open ina single run, it then divides into two returning flights which lead to the loggia-like gallery of the main floor. In patios that cling to the Gothic tradition the Stair is a long single run against one side and supported on an arch so flat that one wonders how the stones stay in place. All these Stairways have a rail of beaten iron cut to the silhouette of a stone baluster and topped off at the land- MAJORCA 271 ings with brass, a very individual arrangement not seen on the mainland. The bays around the open patio are vaulted but in a few of the older palaces the vestibule leading from the street has a Moorish painted wooden ceiling. Vines or potted plants rarely relieve the me- dizval Stoniness. The Mayjorcan garden is not found in connexion with the city palace but is part of the posesion, or traét which Don Jaime gave to each of the chieftains who brought troops to help in the conquest of the island. A more common name for these country places is son. In many cases the som is Still held by descendants of the warrior on whom it was bestowed in the thirteenth century. The house itself is usually simple, even when reformed in the seventeenth century, at which time the island, in contrast to the reSt of Spain, was enjoying its usual prosperity. According to ancient custom the soz is managed by the amo, or lessee-farmer, and his wife, the madona ; to it the owner resorts occasionally for short Stays. Under one roof are his quarters, those for the amo, the chapel, and various Storehouses, olive presses, and so forth, making a picturesque Stucco pile crowned by tiled roofs. The patio, called in Mallorquin the c/asta, is either shaded by a giant grape-vine or a spreading tree in the centre, and is often overlooked by a gallery on one side. Although the Stair is generally enclosed like the clauSstral type of Andalusia, a subsidiary flight often rises from one corner to a mezzanine, and its iron balustrade and lean- 272 SPANISH GARDENS AND PATIOS to wooden hood add interest to the c/asta composition ; so likewise does the chapel entrance with its niched saint above. The well, common to all patios in all parts of Spain, has an iron crane and Stone kerb on which Stands the classic copper cantaro. In this brief space we can mention only a few such possessions: on the road to Soller we find first Raxa, remodelled in the late eighteenth century by Majorca’s famous patron of art, Cardinal Despuig; a few kilo- meters farther on the left, S’Auqueria (la Alqueria, or manor); while on the right Stands 4/fzbza. On the road to Bafialbufar is La Granja (the grange) and quite near to Palma, Son Berga and Sarria. Only a half- hour’s walk from the Son Rapifia tram are Son Vida and La Cigale ; Son Veri lies on the great highroad to Inca, while E/ Sa/t (the cascade) de Son Forteza is romantically situated up in the western mountain chain beyond Puig- pufient. A beautiful cloister garden and terrace is that of the Sefiora de Bonsoms, who lives in the former Car- thusian Monastery of Valdemosa; and lastly, almoSt within the limits of Palma itself, is the lovely old seaside garden, E/ ‘fardin Rudbert, which has made effective use of the Gothic capitals and saints from a ruined convent that Stood near the site. Raxa, to which Cardinal Despuig retired after a long residence in Rome and whither he brought many ship- loads of antique art treasures, was already an old eState. Before passing to the illustrious Despuig family (through intermarriage) in the early seventeenth century, it had e723 CLOISTER OF THE CONVENTO DE SAN FRANCISCO, PALMA A fourteenth-century inclosure with informal planting geese es id serene Sa ae a oe ae se aS. AE Ds PATIO OF THE ALMUDAINA OR MOORISH ROYAL PALACE, PALMA Remodeled after the Christian Conquest 75 PATIO OF THE CASA LASTRE, PALMA In the smaller houses mediaeval tradition never completely disappeared PAISUEdXS 31k sored 94} S]9aI}s MOIIEU ogy Wars" paueduros AYOLNAD HLNADLNAATS “WWTVd ‘AOVIVd LOAIA JHL AO OLLVd UIPIVS SY} SUIYOOTIOAO IIvys [NJadv1s B YA Oed onboleg V VWIVd ‘SANOUVW NvAf Nod AO vSvO HSS & ORAS NER 00! cae wis Aeq JSOUIIIO; aq} Ul Sujaq uses years 2} ‘9DUBIJUD BdIAIOS AUOLNAD HLNADLXIS "VWIVd ‘AOVIVd AA AHL AO OILVd f HH ii il _ Ul I j lh i MAJORCA 29 belonged for some two hundred years or more to the Sa- Fortezas, whose great city palace is the present Post Office ; and to judge by its Arab name, Raxa had previ- ously been the eState of a Moor of high degree. The last inheritor, the now aged Conde de Montenegro, being impoverished, sold it and the contents of its famous library and museum; only a few Statues and lapidary inscrip- tions remain. The Raxa garden, reminiscent of the Italian, is to-day very charming in its moss-covered dilapidation. The site was chosen for its natural supply of water, the first consideration on an island where droughts are frequent. Better to control the supply a large lake was made, which may date, like all the reservoirs on the island, from Moor- ish days. ‘The garden belongs to the hillside type, for it nestles in the fa/da (lap) of the Valdemosa mountains ; but unlike the Andalusian examples in the same class no decorative devices were resorted to for bringing the water down to the various levels; instead, there is-an incon- spicuous little canal, Stone-lined, behind the parapet. There is only one fountain to speak of —that of the parterre in front of the house; but many have been sold from the place. The great feature is the monumental Stone Stairway which leads from the fsa principal of the house, one Story higher than the patio level, up to the reservoir. Flanked with stepped parterres planted with great masses of purple iris (which, by the way, grows in amazing profusion in Majorca), and these overhung by orange trees and lofty dark pines, the colour effect is 280 SPANISH GARDENS AND PATIOS very beautiful and compensates for the mediocrity of the Statuary. It is intereSting to note that the balustrade of the Raxa loggia and terraces, always more Italian than Spanish, is here provided with hollow terra-cotta balusters. Whether these particular examples set the fashion or not is hard to say, but similar ones are found on every eState on this side of the island. From the uppermost terrace a good bird’s-eye view of the house is obtained —a simple quadrangle in plan, enclosing a spacious patio, and, rising from the intereSting jumble of tiled roofs, a little belfry for calling the hands to meals and to mass. Below and to the south of the house is a small sunken garden with formal beds lined with box, and interesting Steps and armorial portal leading up to the main road. Alfabia (another Moorish name) is even more interest- ing initsway. The house is approached by a long avenue of sycamores with beautiful whitish trunks. The win- dowless Baroque facade is merely a factitious front deliberately set up only a few feet in advance of the original Gothic facade. The patio has the usual piétu- resque accessories—well, chapel, olive presses, and cavern- ous Storeroom for almonds. Off to the left, before entering the patio, and reached by another avenue of sycamores, lies the garden, its portal flanked on one side by a Baroque dove-cote and on the other by a Stone- vaulted reservoir. This pool probably dates from Moorish days, for Alfabia was: once the country seat of the Moorish governor. MAJORCA ne The main walk of the garden is in the form of a long trellis sloping down to the orange groves that extend back of the house; on the one side indiscriminate plant- ing of flowers, on the other formal beds. Pebbles were used for the patterned pavement of the walk; besides the vines that shade it, it is further cooled by side sprays of water from lead jets in the parapet wall, following Moorish tradition. At the end of the walk is a fountain of no artistic merit but supplied with metal attachments that throw the water into myriad forms. A very serious and very small boy can be persuaded for very small com- pensation to juggle golden oranges in the slender jet by the hour, for the lucky visitor who has time to linger. Another soz illustrated, Sa Forteza, is beyond the town of Puigpufient in a remote valley. To reach it one might take the road between Valdemosa and Esporlas and include the magnificent Son Canet. The Sa Forteza place is alluded to locally as E/ Sa/t, in reference to the cascade that leaps from the lofty crags behind the house. Approaching from the road, one sees a succession of broad terraces leading up to the house like a Stupendous flight of Steps. They are planted with close-clipped orange trees that appear as diminutive as the little tufts in primi- tive pictures. Once on top and passing through the patio one sees that the uppermost level has been re- served for a beautiful green garden whose only bloom is the purple iris. Hedges of box are arranged in simple geometric patterns, each dominated by a clipped palm or Stiff pine. One feels that anything more would be 282 SPANISH GARDENS AND PATIOS wrong ; the landscape is too beautifully wild to need it. Especially suitable also to the picture is the simple rec- tangular manor made imposing by spreading bastions and without any other adornment than its many plain iron balconies. A liberal use of ochre, sea-green, and washed-out pink in the walls is not only a harmonious note, but prevents the house from seeming like a white patch on the landscape. At Establiments, seven kilometers from Palma on the Esporlas route, is Son Berga. The name “ eStablish- ments ’’ refers to a parcelling up of the vast old possession of Son Gua/ into some five or six eStates in the early eighteenth century, the new owners building themselves houses of the classic island type. Thus Son Berga and Sarria came into existence. The Berga has a fine site— an extensive plateau high above the road and command- ing the whole Bay of Palma in front and the mountain range to the north and weSt. A Stately main facade is featured by a triple-arched loggia set above a medieval- looking vaulted passage connecting patio and formal garden. The garden of close-clipped hedges, bright clay paths, and several creditable fountains, is quite free of any high growth that would interrupt the sweep of city and sea. At the back, in contrast, is an English garden of masses of flowers, winding paths, the great drive that terminates at the patio entrance, and many tall shade trees. On a little eminence in this part of the grounds is preserved one of the old windmills with which the Gual tract was dotted, with its niched Virgin above the ' ‘ i | : See THE PATIO AND LOGGIA OVERLOOKING THE GARDEN AT LA GRANJA Its seventeenth-century bui'ders were thoroughly conversant with Florentine architecture THE PATIO AT RAXA, THE DESPUIG COUNTRY SEAT An old villa remodeled in the late eighteenth century RAXA, THE ESTATE OF CARDINAL DESPUIG, MAJORCA. .THE ESTANQUE OR RESERVOIR Its foundations are of Moorish origion 286 THE GARDEN STAIR AT RAXA Cn each side of the parapets are little canals for watering the terraces THE GARDENS AT RAXA. THE MONUMENTAL STAIR.LEADING TO THE RESERVOIR Purple iris, orange trees, and pines are on each side ALFABIA, AN ESTATE ON THE ROAD TO SOLLER, MAJORCA The villa is approached by a long avenue of sycamores tte Higcmeorts E APPROACH TO ALFABIA SEEN FROM WITHIN THE PATIO TH hough the facade Baroque the nucleus of the house dates from the fifteenth century Ss i I THE GARDEN PERGOLA AT ALFABIA LEADING TO THE ORANGE GROVES In summer this is freshened by jets of water at the sides THE GARDEN GATE AT ALFABIA Its charm does not depend upon a profound knowledge of architecture 292 S99¥II9} PR[I-ISUKIO SUISOdUI! JO UOISs2dINS B SUMOID BILLA Jq_f, THE UPPER TERRACE OF SON SA FORTEZA The planting is kept subordinate to nature SON BERGA, AN EIGHTEENTH-CENTURY VILLA AT ESTABLIMENTS, MAJORCA A broad terrace of formal planting in front of the house commands the Bay of Palma ch fe eer BP MRO pncane THE PATIO OF SON BERGA AND THE FACADE OF THE ORIGINAL FIFTEENTH CENTURY FARM-HOUSE Jeo JIUTUINS jo SSO[PABSOI ULIUBLIOIPIP, OY] MIA ABUT QUO sa[qu) pue saqoUsq auoIs YIUAL Paplsoid sjayd0d usyuUNs pastsap ApIIAI]9 wWIOI4 VNTVd ‘LYAIAU WITIA AHL AO SNIGUVD GARDENS OF THE VILLA RUBERT, PALMA Mediterranean gardeners are but little interested in classic accessories » MAJORCA THE TOMATO TERRACES AT BANULBUFAR xtraordinary Mediterranean composition achieved by centur il 1ent to es of pati i A most e MAJORCA 299 portal. It now serves as a dove-cote. Sloping north- wards from the house and its two gardens is the /Auerta or farm. Son Berga harbors a. number of interesting antiquities that were found on the island. Hardly to be classed as gardens, yet of great interest, are the terraces of Bafialbufar, a picturesque town on the west coast. Man by centuries of toil has rendered fertile the once rocky slopes to the sea, terracing them in such perfect conformity to the natural topography that it all appears to have been so from the beginning. Seen from the high-perched coast drive coming from Esporlas, the whole Stretch looks like a big relief map scored with the engineer’s contour lines. Warmed by the reflected heat of the Mediterranean which laps the foot of the hills, and gay with the colour of varied flowers and fruits (tomatoes being one of the chief products), these terraces provide a very considerable annual income to their owners. Altogether a most alluring spot is this little-known island of Mallorca. ‘The garden-lover could ask for nothing more poetic than its old-time, never too scien- tifically laid-out gardens; yet we present them well aware that neither pen nor camera has done full justice to their charm. eer lt M aw eS x > <2 ats INDEX | Cistercian Order, 114, 272 A Abderrhaman I, 50, 133 Abuzacaria, Arab writer, 13, 50 Acosta, Don José 160, 177 Ajimez window, 146 Alba or Alva, Duke of, 105, 213 Alba or Alva palace and garden, 191, 227-29 Albaicin Hill, 143, 176 Alcazar (Seville), 12, 25, 27, 37, 49, 71, 78, 88, 191-209 Alfabia, 272, 280, 281 Alhambra, 79, 89, 143, 145, 165-177 Allée d’eau, 155 Altamira Palace, 105 America, II Andalusia, Part I, 269 Arab, Arabs, 9, 10, 13 Arabia, 25 Aragon, 270 Arcade, 37 Artesonado, 214 Asia, Asiatic, 9, 10 Azulejos, (glazed polychrome tiles), 9, 10, 60, 59, 72-89, 177, 213, 227 B Balearic Islands, 269 Banalbufar, 272, 299 Barcelona, 114, 241 Baroque style, 113 Benches, 80, 87, 90, 9I Boquets d’arbres, 37 C Cadiz, 255 Calle de Abades, 105 Calle de Guzman el Bueno, 80, 105, 252 Calle del Horno de Oro, 106 Calle de Las Rejas de Don Gomez, 252 Calle de Levies, 195 Campo de los Martires, 178 Campotejar family, 144 Cardinal Despuig, 272 Carmen de los Martires, 179 Casa Chapiz, 106 Casa de las Duenas, 26, 213, 227-29 Casa de Pilatos, 26, 213-17 Casa de las Rejas, 26, 252-55 Casa del Rey Moro, 121-24 Casa de los Tiros, 144 Catalan, Catalonia, 11, 269, 270 Catholic Sovereigns, the, 165 Cerro del Sol, 145 Cervantes, 243 Charles V, the Emperor, 49, 88, 89, 165 166, 175, 192, 193, 209 Chopin, 116 Christians, 10, 12, 25, 27, 49, 79 Ciairvoyée, 39 Cloister, 11, 26, 90, 113-116 Columbus, 115 Conquest of Cordova, Granada, Seville, 10 Convento de la Merced, Seville, 59, 244 Convento de la Merced, Cordova, 113 Convento de Santa Clara, Moguer, 115 Convento de Santa Clara, Seville, 115, 244 Cordova; 10, 26) 27,37, 60;5°70,7 96, 124, £33,105; 1775 252-255 Cortijo, 27 Cuerda seca tiles, 77 Cuenca tiles, 77 D Darro River, 145 Della Robbia, 77 Despuig Cardinal, 272 Disestablishment Act, 116, 244 Dividing walls, 52 Don Jaime the Conqueror, 271 Don Quixote, 243 Doorways, 69 Du Cerceau, 37 Duefnas, Casa de las, 26, 213 Duchess of Parcent, 121 Duke of Alba, 213 Duke of Medinaceli, 213, 217 Duke of Montpensier, 241 E Eben Said, Moorish writer, 25 Ecija, 14, 113, 118, 255 Egypt, Egyptians, 25, 40 El Paular, 114 El Salt,i272 Ermitas, las, 124-133 Escorial, the, 12 Esporlas, 281 Establiments, 282 Estanque (pool), 215, 242 Europe, European, 9, 10 bi Fabrica de Tobacos, 191 Falda, engraver, 12 Ferdinand the Catholic, 121, 165 Flat gardens, 38, 39 Flower pots, 72, 162, 208 Forrestier, Monsieur E. N., 26, 121, 241 Fountains, 60, 78-80, 104 Fountain of the Lions, Alhambra, 175 Fountain of the Lions, Parque Maria Luisa, Seville, 243 France, French, 12, 13, 28 G Garden sculpture, 28, 37 Gautier, Theophile, 10, 95, 243 393 304 Generalife, 25, 27, 30, 143-162, 242 Genoa, 214, 269, 270 Gibraltar, 121 Granada, 10, I1, 25, 27, 37, 96 Grass, 27, 50 Guadalevin River, 121 Guadalquiver River, 37, 191, 214 Guadalupe, Monastery of 114, H Hieronymite Order, 114 Hillside gardens, 38, 39 Huerta, 38, 39, 60, 145, 299 I Iberian Peninsula, 9 Irrigation, 25, 59 Irving, Washington, 176 Isabella the Catholic, 121, 165 Isabel II, 227, 241 Italy, 12, 28 Italian Palace of Charles V, 165 J Jardin de los Adarves, 166 Jardin de Murillo, 244 Jardin Rubert, 272 Jardines de Maria Padilla, 193, 207, 208 Jane the Mad, 176, 193 Jerez; 255 L La Cigale, 272 La Granja (Castile), 12 La Granja (Majorca), 272 Le Notre, 37 Lowlands, the, 12 Lupiana, Monastery, of, 116 Lustre tiles, 227 M Madrid, 214 Majorca (Mallorca), Part II Maria Luisa Park, 45, 55, 87, 191, 241-44 Maria Padilla, 193, 207, 208 Marques del Merito, 116 Marques de Peffaflor, 65 Marques de Vega Inclan, 144 Marques de Viana, (garden of), 96, 103, 252-55 Maze, 79 Medinaceli palace and garden, 29, 59, 105, I9I, 214-17 Medinat-az-Zahra, 27 Metallic lustre tiles, 88 Military Orders, 40 Moguer, 115 Mohammed V, 165 Mohammedan, or Moslem, 9, 10, 121328 Moors, Moorish, 9, 10, Monastery, II, 113 Monastery of Guadalupe, 117 INDEX Monastery of Lupiana, 116 Monastery of Valdemosa, 272 Montjuich Park, 241 Mudejar, 105, 227 Murcia, 27 Murillo Garden, 76, 244 Museo Provincial (Cordova), 103 Museo Provincial (Seville), 244 N Netherlands, 12 O Olea house, 105 Omaiyad Sultans, 50 Osborne gardens and palace, 80, 105, 252 Osuna, 255 P Padres Venerables (patio), 79, 83 Painted ceilings, 104 Palacio Santelmo, 191 Palma, 269 Palos, 115 Panelled doors, 104 Parapets, 71 Parcent, Duchess of, 121 . Park of Montjuich, 241 a Parque Maria Luisa, Seville, 87, 191, 241-244 Paths of Pebbles, 61, 87-88, 89-90, 106, 115, 162 Paths of tiles, 87-88, 217 Patio, 10, 95 Patio de la Alberca, 166 Patio de los Arrayanes, 166 Patio de los Cipreses, 160, 242 Patio de Daraxa, 175 Patio de los Leones, 166 Patio de los Naranjos, 26 Patio de la Reja, 175-176 Patios of Cordova, 96-103 Patios of Granada, 105-113 Patios of Seville, 103-105 Pavilion of Charles V, 88, 194, 207 Pergola, 123, 242 Persia, 9, 59 Peter the Cruel, 71, 191, 192, 209 Philip IV, 192, 209 Philip V, 192, 209 Pilatos, Casa de, 26, 213 Pinelos house, 105 Pisano tiles, 77 Poblet, Monastery of, 114 Posesion, (estate) 271 Potted plants, 96 Plaza del Alfaro, 31 Pyrenees, 28, 37 Q Quinta de Arrizafa, 133 R | Raxa, 272-280 Reja (of iron or wood), 69, 103, 104 INDEX Reflejos metalicos, (lustre tiles) 228 Renaissance, 37 Reveal seats, 69 Ribera family, 213 Rigaud, engraver, 12 Roman brick, 39 Roman gardens, 37 Romantic School of literature, 143 Ronda, 37, I2I-131, 207 5 San Benet de Bages, 116 San Jeronimo, Monastery of, 116 Sanchez—Dalp, Don Miguel, 32 Sanchez—Perez, Arab scholar, 13 Santa Clara, Convent of, 115 Santas Creus Monastery 114 Sarria 272 Sassanid dynasty, 9 Scherm, engraver, 12 Sculpture, 28, 69 DemiestO. 11, 12..13,.25, 26, °37,.75,.99; 774 F 191-211 Silvestre, engraver, 12 Soller, 272 Son (of Majorca), 271 . Son Berga, 272, 282, 299 Son Gual, 282 Son Sa Forteza, 272, 281-282 Son Veri, 272 Spanish-American Exposition, 241 Stairs in gardens and patios, 89, 95, 96, 123,271 A Stucco, 69, 71 Sutton—-Nichols, engraver, 12 ie Tejaroz, (tiled hood), 70, 75, 77, 86 Tiled paths, 217 Tinaja, 106 Topiary, 40 Torre del Oro, 191 Treillage, 37 Triana, 78, 243 Tunis, 25 Turkey, 25 Types of Gardens, 37 V Valdemosa, 116, 272 Valencia, 27 Viana patio and garden, 96, 103 Villa rustica, 27 W Walls, 69, 72, 214 Water, distribution of, 59, 60 Wells, 96, 114 Wooden grilles or rejas, 69 Bb ¢ Yeseria, yeso (carved stucco), 71, 92, 104, 177, 213, 227 Yusuf I, 165 vA Zaguan (vestibule), 227 HISTORIC WALL-PAPERS From Their Inception to the Introduction of Machinery By NANCY McCLELLAND A Limited Edition de Luxe Twelve Full-page Color Plates, 245 Illustrations in Doubletone, and a Chart of Periods. Quarto. Handsomely Bound. {$25.00 OR some time a history of wall-papers has been eagerly awaited by artists, art lovers, decorators and designers interested in period settings. But none of these, even in his most optimistic dreams, dared hope for such a magnifi- cent volume as Miss McClelland has compiled. So scarce and scattered were the authentic sources of information that the story had to be pieced accurately and painstakingly together from a careful study of rare examples and original documents here and abroad. The quest has been both engrossing and incessant for the past three years. It has led to strange and unexpected places-—-to a Governor’s mansion, to the cellars of the great Bibliotheque Nationale in Paris, to country inns, to dusty old documents printed in French and English and German of a bygone day, to manuscripts and museums, to attics and long-locked boxes and forgotten trunks. The result is the complete story of the development of the wall-paper industry, traced, for the first time, from its beginning to the introduction of machine-printing. The exquisite French papers are treated with unusual complete- ness, as are the finest examples of England and America. Aside from its specific interest, it is a fascinating story of curious side-lights into the history of art and decoration and quaint historic records. Especially beautiful are the reproductions of painted scenic papers and earlier papers imitating tapestries and woven stuffs. AT ALL BOOKSTORES ].-BS LIRP LN CG en COMPAN Y—PUBLISHERS LONDON PHILADELPHIA MONTREAL LIPPINCOTT’S PRACTICAL BOOKS FOR THE ENRICHMENT OF HOME LIFE Either good taste and refinement or the opposite are expressed in your home. | Here is professional expert advice which will give the knowledge needed to avoid glaring mistakes in home decoration and to help you express your personality. THE PRACTICAL BOOK OF OUTDOOR FLOWERS. 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LIPPINCOTT COMPANY—PUBLISHERS LONDON PHILADELPHIA MONTREAL tf YY Pale et +s aN SIE £. ; ' Be Sothern dete War Toa par, Pee od eet bP a a + thet ena F ma miaey Pee tobe ed) VF Peg | Nee Sot abot rch de Ta 0 Nek FO Et ih oe es | LBP \ans 4 ee lt HE te ries MS # eae fs rien oe if ; \s hoe +f Se One d+ ’ Mu egebi Five > ov . vit eg Sah tehge oo Pe LiSee rib dl . Mikio ail my { rer By fen fi , Pehle | KG ny ' sh ba ab YB DMA HY Mf iat ein ! ’ th + aif re A ay fev hy : iq “gh i 7 UP ast ey tbopaee by ee arts hea -s te ™ i a bre nti mit HA. Ras i RENT 4 A t St ee