Albert Frederick Calvert

Albert Frederick Calvert

Summary

Portrait of Albert Frederick Calvert Albert Frederick Calvert The Alhambra

To enter the Court of the Fish-pond is to be straightway translated to the palace of Haroun-al-raschid: Granada changes to Damascus. The Moorish arches, springing from slender palm-tree shafts, are of bewildering beauty; the walls, no longer forbidding blocks of stone, but pierced trellises, that turn sunlight and moonlight into patterns resembling so much Venetian filigree. “Surely they are needle-work turned to stone,” says a traveller of long ago; “or some great Sultán has built them with panels cut from caskets of Indian ivory, though the piecing be not seen.
Source: Gutenberg

Portrait of Albert Frederick Calvert Albert Frederick Calvert The Alhambra

Here it is said that thirty-six cavaliers of the heroic line of Abencerrage were sacrificed to appease the jealousy or allay the fears of a tyrant. The fountain ran red with the noblest blood of Granada; and a deep stain on the marble pavement is pointed out by the cicerone of the pile as a sanguinary record of the massacre. The discolourations must be regarded with the same perfect faith with which one looks upon the traditional stains of Rizzio’s blood on the floor of the chamber of the unhappy Queen Mary at Holyrood. Who desires to be sceptical on such points of popular belief?
Source: Gutenberg

Portrait of Albert Frederick Calvert Albert Frederick Calvert The Alhambra

Here passed away the Korán—there in the Cross was borne—
And here was heard the Christian bell, and there the Moorish horn;{452}
Te Deum Laudamus! was up the Alcala sung:
Down from th’ Alhambra’s minarets were all the crescents flung;
The arms thereon of Aragon they with Castile’s display;
One king comes in in triumph—one weeping goes away!
Thus cried the weeper, while his hands his old white beard did tear,
“Farewell, farewell, Granada! thou city without peer!
Source: Gutenberg

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