The site of the chief mosque is now the cathedral, in the chief chapel of which are buried the conquerors of Granáda. There lie Ferdinand and Isabella in plain iron-bound leaden coffins--far from the least interesting sights of the place--in a spot full of memories of that contest which they considered the event of their lives, and which was indeed of such vital importance to the country. The inscription on their marble tomb in the church above tells how that the Moors having been conquered and heresy stamped out (?), that worthy couple took their rest. The very atmosphere of the place seems charged with reminiscences of the Moors and their successful foes, and here the spirits of Prescott and Gayangos, the historians, seem to linger still.
On either side of the high altar are extremely interesting painted carvings. On one is figured the delivering up of the Alhambra. Ferdinand, Isabella and Mendoza ride in a line, and the latter receives the key in his gloved hand as the conquered king offers him the ring end, followed by a long row of captives. Behind the victors ride their knights and dames. On the other the Moors and Mooresses are seen being christened wholesale by the monks, their dresses being in some respects remarkably correct in detail, but with glaring defects in others, just what might be expected from one whose acquaintance with them was recent but brief.
Before these carvings kneel real likenesses of the royal couple in wood, and on the massive square tomb in front they repose in alabaster. A fellow-tomb by their side has been raised to the memory of their immediate successors. In the sacristry are to be seen the very robes of Cardinal Mendoza, and his missal, with the sceptre and jewel-case of Isabella, and the sword of Ferdinand, while that of the conquered Bû Abd Allah is on view elsewhere. Here, too, are the standards unfurled on the day of the recapture, January 2, 1492, and a picture full of interest, recording the adieux of "Boabdil" and Ferdinand, who, after their bitter contest, have shaken hands and are here falling on each other's necks.
As a model of Moorish art, the palace of Granáda, commenced in 1248, is a monument of its latest and most refined period. The heavy and comparatively simple styles of Córdova and Sevílle are here amplified and refined, the result being the acme of elegance and oriental taste. This I say from personal acquaintance with the temples of the far East, although those present a much more gorgeous appearance, and are much more costly erections, evincing a degree of architectural ability and the possession of hoards of wealth beside which what the builders of the Alhambra could boast of was insignificant; nor do I attempt to compare these interesting relics with the equally familiar immensity of ancient masonry, or with the magnificent work of the Middle Ages still existing in Europe. These monuments hold a place of their own, unique and unassailable. They are the mementoes of an era in the history of Europe, not only of the Peninsula, and the interest which attaches itself to them even on this score alone is very great. As relics on a foreign soil, they have stood the storms of five centuries under the most trying circumstances, and the simplicity of their components lends an additional charm to the fabric. They are to a great extent composed of what are apparently the weakest materials--mud, gypsum, and wood; the marble and tiles are but adornments.