through empty chambers. Here then was a mystery. Here was the haunted wing of the castle. How was I to get at the dark secrets here shut up from the public eye? Should I come privately at night with lamp and sword, according to the prying custom of heroes of romance; or should I endeavour to draw the secret from Pépe the stuttering gardener; or the ingenuous Dolores, or the loquacious Mateo? Or should I go frankly and openly to Dame Antonia the chatelaine, and ask her all about it? I chose the latter course, as being the simplest though the least romantic; and found, somewhat to my disappointment, that there was no mystery in the case. I was welcome to explore the apartment, and there was the key.
Thus provided, I returned forthwith to the door. It opened, as I had surmised, to a range of vacant chambers; but they were quite different from the rest of the palace. The architecture, though rich and antiquated, was European. There was nothing Moorish about it. The first two rooms were lofty; the ceilings, broken in many places, were of cedar, deeply panelled and skilfully carved with fruits and flowers, intermingled with grotesque masks or faces.
The walls had evidently in ancient times been hung with damask; but now were naked, and scrawled over by that class of aspiring travellers who defile noble monuments with their worthless names. The windows, dismantled and open to wind and weather, looked out into a charming little secluded garden, where an alabaster fountain sparkled among roses and myrtles, and was surrounded by orange and citron trees, some of which flung their branches into the chambers. Beyond these rooms were two saloons, longer but less lofty, looking also into the garden. In the compartments of the panelled ceilings were baskets of fruit and garlands of flowers, painted by no mean hand, and in tolerable preservation. The walls also had been painted in fresco in the Italian style, but the paintings were nearly obliterated; the windows were in the same shattered state with those of the other chambers. This fanciful suite of rooms terminated in an open gallery with balustrades, running at right angles along another side of the garden. The whole apartment, so delicate and elegant in its decorations, so choice and sequestered in its situation along this retired little garden, and so different in architecture from the neighbouring halls, awakened an interest in its history. I found on inquiry that it was an apartment fitted up by Italian artists in the early part of the last century, at the time when Philip V. and his second wife, the beautiful Elizabetta of Farnese, daughter of the Duke of Parma, were expected at the Alhambra. It was destined for the queen and the ladies of her train. One of the loftiest chambers had been her sleeping-room. A narrow staircase, now walled up, led up to a delightful belvidere, originally a mirador of the Moorish sultanas, communicating with the harem; but which was fitted up as a boudoir for the fair Elizabetta, and still retains the name of el tocador de la Reyna, or the queen's toilette.
One window of the royal sleeping-room commanded a prospect of the Generalife and its embowered terraces; another looked out into the little secluded garden I have mentioned, which was decidedly Moorish in its character, and also had its history. It was in fact the garden of Lindaraxa, so often mentioned in descriptions of the Alhambra, but who this Lindaraxa was I had never heard explained. A little research gave me the few particulars known about her. She was a Moorish beauty who flourished in the court of Muhamed the Left-Handed, and was the daughter of his loyal adherent, the alcayde of Malaga, who sheltered him in his city when driven from the throne. On regaining his crown, the alcayde was rewarded for his fidelity. His daughter had her apartment in the Alhambra, and was given by the king in marriage to Nasar, a young Cetimerien prince descended from Aben Hud the Just. Their espousals were doubtless celebrated in the royal palace and their honeymoon may have passed among these very bowers.3
Four centuries had elapsed since the fair Lindaraxa passed away, yet how much of the fragile beauty of the scenes she inhabited remained! The garden still bloomed in which she delighted; the fountain still presented the crystal mirror in which her charms may once have been reflected; the alabaster, it is true, had lost its whiteness; the basin beneath, overrun with weeds, had become the lurking-place of the lizard, but there was something in the very decay that enhanced the interest of the scene, speaking as it did of that mutability, the irrevocable lot of man and all his works.
The desolation too of these chambers, once the abode of the proud and elegant Elizabetta, had a more touching charm for me than if I had beheld them in their pristine splendour, glittering with the pageantry of a court.
When I returned to my quarters, in the governor's apartment, everything seemed tame and commonplace after the poetic region I had left. The thought suggested itself: Why could I not change my quarters to these vacant chambers? that would indeed be living in the Alhambra, surrounded by its gardens and fountains, as in the time of the Moorish sovereigns. I proposed the change to Dame Antonia and her family, and it occasioned vast surprise. They could not conceive any rational inducement for the choice of an apartment so forlorn, remote, and solitary. Dolores exclaimed at its frightful loneliness; nothing but bats and owls flitting about, – and then a fox and wildcat, kept in the vaults of the neighbouring baths, roamed about at night. The good Tia had more reasonable objections. The neighbourhood was infested by vagrants: gipsies swarmed in the caverns of the adjacent hills; the palace was ruinous and easy to be entered in many places; the rumour of a stranger quartered alone in one of the remote and ruined apartments, out of the hearing of the rest of the inhabitants, might tempt unwelcome visitors in the night, especially as foreigners were always supposed to be well stocked with money. I was not to be diverted from my humour, however, and my will was law with these good people. So, calling in the assistance of a carpenter, and the ever officious Mateo Ximenes, the doors and windows were soon placed in a state of tolerable security, and the sleeping-room of the stately Elizabetta prepared for my reception. Mateo kindly volunteered as a body-guard to sleep in my antechamber; but I did not think it worth while to put his valour to the proof.
With all the hardihood I had assumed and all the precautions I had taken, I must confess the first night passed in these quarters was inexpressibly dreary. I do not think it was so much the apprehension of dangers from without that affected me, as the character of the place itself, with all its strange associations: the deeds of violence committed there; the tragical ends of many of those who had once reigned there in splendour. As I passed beneath the fated halls of the tower of Comares on the way to my chamber, I called to mind a quotation that used to thrill me in the days of boyhood:
"Fate sits on these dark battlements and frowns;
And, as the portal opens to receive me,
A voice in sullen echoes through the courts
Tells of a nameless deed!"
The whole family escorted me to my chamber, and took leave of me as of one engaged in a perilous enterprise; and when I heard their retreating steps die away along the waste antechambers and echoing galleries, and turned the key of my door, I was reminded of those hobgoblin stories, where the hero is left to accomplish the adventure of an enchanted house.
Even the thoughts of the fair Elizabetta and the beauties of her court, who had once graced these chambers, now, by a perversion of fancy, added to the gloom. Here was the scene of their transient gaiety and loveliness; here were the very traces of their elegance and enjoyment; but what and where were they? Dust and ashes! tenants of the tomb! phantoms of the memory!
A vague and indescribable awe was creeping over me. I would fain have ascribed it to the thoughts of robbers awakened by the evening's conversation, but I felt it was something more unreal and absurd. The long-buried superstitions of the nursery were reviving, and asserting their power over my imagination. Everything began to be affected by the working of my mind. The whispering of the wind among the citron-trees beneath my window had something sinister. I cast my eyes into the garden of Lindaraxa; the groves presented a gulf of shadows; the thickets, indistinct and ghastly shapes. I was glad to close the window, but my chamber itself became infected. There was a slight rustling noise overhead; a bat suddenly emerged from a broken panel of the ceiling, flitting about the room and athwart my solitary lamp; and as the fateful bird almost flouted my face with his noiseless wing, the grotesque faces carved in high relief in the cedar ceiling, whence he had emerged, seemed to mope and mow at me.
Rousing myself, and half smiling at this temporary weakness, I resolved to brave it out in the true spirit of the hero of the enchanted house; so, taking lamp in hand, I sallied