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The Alhambra (Red Castle) (in Arabic الحمراء) is an ancient palace and fortress complex of the Moorish monarchs of Granada, in southern Spain, occupying a hilly terrace on the south-eastern border of the city of Granada.
In 1821 an Earthquake caused further damage. The work of restoration undertaken in 1828 by the architect Jose Contreras was endowed in 1830 by Ferdinand VII; and after the death of Contreras in 1847, it was continued with fair success by his son Rafael (d. 1890), and his grandson Mariano.
In spite of the long neglect, wilful vandalism and sometimes ill-judged restoration which the Alhambra has endured, it remains the most perfect example of Moorish art in its final European development, freed from the direct Byzantine influences which can be traced in the Mesquita cathedral of Córdoba, more elaborate and fantastic than the Giralda at Seville. The majority of the palace buildings are, in ground-plan, quadrangular, with all the rooms opening on to a central court; and the whole reached its present size simply by the gradual addition of new quadrangles, designed on the same principle, though varying in dimensions, and connected with each other by smaller rooms and passages. In every case the exterior is left plain and austere, as if the architect intended thus to heighten by contrast the splendour of the interior. Within, the palace is unsurpassed for the exquisite detail of its marble pillars and arches, its fretted ceilings and the veil-like transparency of its filigree work in Stucco. Sun and wind are freely admitted, and the whole effect is one of the most airy lightness and grace. Blue, red, and a golden yellow, all somewhat faded through lapse of time and exposure, are the colours chiefly employed.
The decoration consists, as a rule, of stiff, conventional foliage, Arabic inscriptions, and geometrical patterns wrought into arabesques of almost incredible intricacy and ingenuity. Painted tiles are largely used as panelling for the walls.
Access from the city to the Alhambra Park is afforded by the Puerta de las Granadas (Gate of Pomegranates), a massive Triumphal arch dating from the 15th century. A steep ascent leads past the Pillar of Charles V, a fountain erected in 1554, to the main entrance of the Alhambra. This is the Puerta Judiciaria (Gate of Judgment), a massive horseshoe archway, surmounted by a square tower, and used by the Moors as an informal court of justice. A hand, with fingers outstretched as a talisman against the evil eye, is carved above this gate on the exterior; a key, the symbol of authority, occupies the corresponding place on the interior. A narrow passage leads inward to the Plaza de los Aljibes (Place of the Cisterns), a broad open space which divides the Alcazaba from the Moorish palace. To the left of the passage rises the Torre del Vino (Wine Tower), built in 1345, and used in the 16th century as a cellar. On the right is the palace of Charles V, a cold-looking but majestic Renaissance building, out of harmony with its surroundings, which it tends somewhat to dwarf by its superior size. The extremely intricate and detailed designs of the Moors' Alhambra stand in stark contrast to Charles' palace, which consists primarily of white walls with no particularly striking features. Many modern architectural scholars are thus disgusted by Charles V's preference for simplistic Renaissance styling, which they believe detracts from the Alhambra's architectural magnificance. Construction of Charles' palace, begun in 1526, was abandoned about 1650.
The present entrance to the Palacio Arabe, or Casa Real (Moorish palace), is by a small door from which a corridor conducts to the Patio de los Arrayanes (Court of the Myrtles), also called the Patio de la Alberca (Court of the Blessing or Court of the Pond), from the Moorish birka, "pond," or berka, "blessing." This court is 42 m (140 ft) long by 22 m (74 ft) broad; and in the centre there is a large pond set in the marble pavement, full of goldfish, and with myrtles growing along its sides. There are galleries on the north and south sides; that on the south 7 m (27 ft) high, and supported by a marble colonnade. Underneath it, to the right, was the principal entrance, and over it are three elegant windows with arches and miniature pillars. From this court the walls of the Torre de Comares are seen rising over the roof to the north, and reflected in the pond.
The Salón de los Embajadores (Hall of the Ambassadors) is the largest in the Alhambra, and occupies all the Torre de Comares. It is a square room, the sides being 12 m (37 ft) in length, while the centre of the dome is 23 m (75 ft) high. This was the grand reception room, and the throne of the sultan was placed opposite the entrance. The tiles are nearly 4 ft (1.2 m) high all round, and the colours vary at intervals. Over them is a series of oval medallions with inscriptions, interwoven with flowers and leaves. There are nine windows, three on each facade, and the ceiling is admirably diversified with inlaid-work of white, blue and gold, in the shape of circles, crowns and stars-a kind of imitation of the vault of heaven. The walls are covered with varied stucco-work of most delicate pattern, surrounding many ancient escutcheons.
[image] The celebrated Patio de los Leones (Court of the Lions) is an oblong court, 116 ft (35 m) in length by 66 ft (20 m) in breadth, surrounded by a low gallery supported on 124 white marble columns. A pavilion projects into the court at each extremity, with filigree walls and light domed roof, elaborately ornamented. The square is paved with coloured tiles, and the colonnade with white marble; while the walls are covered 5 ft (1.5 m) up from the ground with blue and yellow tiles, with a border above and below enamelled blue and gold. The columns supporting the roof and gallery are irregularly placed, with a view to artistic effect; and the general form of the piers, arches and pillars is most graceful. They are adorned by varieties of foliage, etc.; about each arch there is a large square of arabesques; and over the pillars is another square of exquisite filigree work. In the centre of the court is the celebrated Fountain of Lions, a magnificent alabaster basin supported by the figures of twelve lions in white marble, not designed with sculptural accuracy, but as emblems of strength and courage. It has been said that the lions were most likely sculpted by members of the Caliphate's Christian community, as making such representational sculpture was not considered allowed by the followers of Islam.
The Sala de los Abencerrajes (Hall of the Abencerrages) derives its name from a legend according to which Boabdil, the last king of Granada, having invited the chiefs of that illustrious line to a banquet, massacred them here. This room is a perfect square, with a lofty dome and trellised windows at its base. The roof is exquisitely decorated in blue, brown, red and gold, and the columns supporting it spring out into the arch form in a remarkably beautiful manner. Opposite to this hall is the Sala de las dos Hermanas (Hall of the two Sisters), so-called from two very beautiful white marble slabs laid as part of the pavement. These slabs measure 50 by 22 cm (15 by 7 1/2 ft), and are without flaw or stain. There is a fountain in the middle of this hall, and the roof-a dome honeycombed with tiny cells, all different, and said to number 5000-is a magnificent example of the so-called "stalactite vaulting" of the Moors.
Among the other wonders of the Alhambra are the Sala de la Justicia (Hall of Justice), the Patio del Mexuar (Court of the Council Chamber), the Patio de Daraxa (Court of the Vestibule), and the Peinador de la Reina (Queen's Robing Room), in which are to be seen the same delicate and beautiful architecture, the same costly and elegant decorations. The palace and the Upper Alhambra also contain baths, ranges of bedrooms and summer-rooms, a whispering gallery and labyrinth, and vaulted sepulchres.
The original furniture of the palace is represented by the celebrated vase of the Alhambra, a splendid specimen of Moorish ceramic art, dating from 1320, and belonging to the first period of Moorish porcelain. It is 1.3 m (4 ft 3 in) high; the ground is white, and the enamelling is blue, white and gold.
Of the outlying buildings in connection with the Alhambra, the foremost in interest is the Palacio de Generalife or Gineralife (the Moorish Jennat al Arif, "Garden of Arif," or "Garden of the Architect"). This villa probably dates from the end of the 13th century, but has been several times restored. Its gardens, however, with their clipped hedges, grottos, fountains, and cypress avenues, are said to retain their original Moorish character. The Villa de los Martires (Martyrs' Villa), on the summit of Monte Mauror, commemorates by its name the Christian slaves who were employed to build the Alhambra, and confined here in subterranean cells. The Torres Bermejas (Vermilion Towers), also on Monte Mauror, are a well-preserved Moorish fortification, with underground cisterns, stables, and accommodation for a garrison of 200 men. Several Roman tombs were discovered in 1829 and 1857 at the base of Monte Mauror.
In the construction of the Alhambra, the Moors had no depictions of people at all excluding the human hand. Of course, there were plenty of depictions of people on the Renaissance building.