History of mediæval art . Fig. 97.—The Giralda ofthedral of Seville. 184 MOHAMMEDAN ART. Patio de las Doncellas, are distinguished by the introduction of re-naissance columns and details from the works of the fourteenthcentury, such as the Salon de Embajadores. The occupation ofthe building as a palace until the present day has led to so manyrestorations that it is now impossible to attain a clear understanding. Wj^^^=»fv^^ Fig. 98.—Arcade of the Alcazar in Seville. of its original arrangement. The same is the case with the so-calledCasa de Pilatos in Seville. Granada did not become important
History of mediæval art . Fig. 97.—The Giralda ofthedral of Seville. 184 MOHAMMEDAN ART. Patio de las Doncellas, are distinguished by the introduction of re-naissance columns and details from the works of the fourteenthcentury, such as the Salon de Embajadores. The occupation ofthe building as a palace until the present day has led to so manyrestorations that it is now impossible to attain a clear understanding. Wj^^^=»fv^^ Fig. 98.—Arcade of the Alcazar in Seville. of its original arrangement. The same is the case with the so-calledCasa de Pilatos in Seville. Granada did not become important in artistic respects until Cor-dova and Seville had been recovered by the Christians. When thecity attained to an independent position under Ibn-ul Ahmar, aboutthe year 1240, it became the centre of Moorish science and art, as ARCHITECTURE. 185 well as the seat of a court famed alike for intellectual culture andknightly prowess. The natural surroundings of the city seemed tofavor this romantic character. The landscape is strikingly pictur-esque and beautiful: the luxuriant Vega and the valleys of theXenil and the Darro forming a wonderful contrast to the snow-cov-ered peaks which border the horizon. The lower classes as well as the cavaliers among the Moors de-lighted in a careful construction and elaborate embellishment oftheir dwellings. Moved by a like impulse, the kings of Granadabuilt a most magn
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