Studio: international art (85.1923)

“ BLACK CHARLES/’ UNDER-
RIVER, KENT: GARDEN SEAT

one may say, at every hand. A ruined
Moorish portal stands gradually crumbling
by the side of the rigid stone facade of
some Spanish family mansion dating from
the Catholic kings ; on the tower of a
Christian church one may note portions
of Arab tracery or gaily-coloured tiles ;
or, again, you may casually enter some
house of commonplace exterior and find
yourself in an authentic Moorish patio. 0
The last Arab stronghold in the
Peninsula was a city of very great import-
ance before the Moors were finally expelled
in the fifteenth century, and had a popu-
lation probably four times the size of what
it is to-day. The then most populous
“ Barrio/' known as the Albaicin, is now
reduced to a collection of miserable hovels
rising at random out of the sun-baked
hillside everywhere overgrown with
prickly pear, but ascend this hill to its
summit, and there, from the square in
front of San Nicolas Church, you may
feast your eyes on one of the finest views
in the world. My studio commands this
view, and thus I am probably in a unique

IMPRESSIONS OF GRANADA. BY
WYNNE APPERLEY, R.I. * *

ASKED ■ to say something about
Granada to readers of The Studio, I,
who have made my home in the ancient
capital of the Moors in Spain, am bound
to confess that the task at first sight appears
somewhat beyond me. I have an uncom-
fortable feeling of not being able to get far
enough away to see anything in its due
perspective ; the mere fact of living in the
midst of it all makes it very difficult to
give a coherent impression of the whole.
Therefore, let me at the outset crave
indulgence of the reader, while humbly
pointing out to him that I am a painter
and not a writer. 0000
* * * *

Granada is many-sided, but it may be
said, broadly, to have two sides architectur-
ally speaking—the Arab and the Spanish.
These two widely different elements are
seen side by side, waging eternal conflict,

“ BLACK CHARLES,” UNDER-
RIVER, KENT : THE SPRING

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