Loc. GRANADA - ANDALUCIA
<1 Km da ZACATIN
The Alhambra's Moorish palaces were built for the last Muslim Emirs in Spain and its court, of the Nasrid dynasty. After the Reconquista (reconquest) by the Reyes Catolicos (Catholic Monarchs) in 1492, some portions were used by the Christian rulers. The Palace of Charles V, built by Charles V, Holy Roman Emperor in 1527, was ed in the Alhambra within the Nasrid fortifications. After being allowed to fall into disrepair for centuries, the Alhambra was discovered in the 19th century by European scholars and travelers, with restorations commencing. It is now one of Spain's major tourist attractions, exhibiting the country's most significant and well known Islamic architecture, together with 16th-century and later Christian building and garden interventions. The Alhambra is a UNESCO World Heritage Site, and the inspiration for many songs and stories. Moorish poets described it as a pearl set in emeralds, in allusion to the colour of its buildings and the woods around them. The palace complex was designed with the mountainous site in mind and many forms of technology were considered. The park (Alameda de la Alhambra), which is overgrown with wildflowers and grass in the spring, was planted by the Moors with roses, oranges and myrtles; its most characteristic feature, however, is the dense wood of English elms brought by the Duke of Wellington in 1812. The park has a multitude of nightingales and is usually filled with the sound of running water from several fountains and cascades. These are supplied through a conduit 8 km (5.0 mi) long, which is connected with the Darro at the monastery of Jesus del Valle, above Granada. Despite long neglect, willful vandalism and some ill-judged restoration, the Alhambra endures as an atypical example of Muslim art in its final European stages, relatively uninfluenced by the direct Byzantine influences found in the Mezquita of Cordoba. The majority of the palace buildings are quadrangular in plan, 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. The Alhambra was extended by the different Muslim rulers who lived in the complex. However, each new section that was added followed the consistent theme of paradise on earth. Column arcades, fountains with running water, and reflecting pools were used to add to the aesthetic and functional complexity. In every case, the exterior was left plain and austere. Sun and wind were freely admitted. Blue, red, and a golden yellow, all somewhat faded through lapse of time and exposure, are the colors chiefly employed. The decoration consists, as a rule, of stiff, conventional foliage, Arabic inions, and geometrical patterns wrought into arabesques. Painted tiles are largely used as panelling for the walls. The palace complex is designed in the Mude'jar style which is characteristic of western elements reinterpreted into Islamic forms and widely popular during the Reconquista, the reconquest of the Iberian Peninsula from the Muslims by the Christian kingdoms. The Alhambra did not have a master plan for the total site design, so its overall layout is not orthogonal nor organized. As a result of the site's many construction phases: from the original 9th century citadel, through the 14th century Muslim palaces, to the 16th century palace of Charles V; some buildings are at odd positioning to each other. The terrace or plateau where the Alhambra sits measures about 740 metres (2,430 ft) in length by 205 metres (670 ft) at its greatest width. It extends from west-northwest to east-southeast and covers an area of about 142,000 square metres (1,530,000 sq ft). The Alhambra's most westerly feature is the alcazaba (citadel), a strongly fortified position. The rest of the plateau comprises a number of Moorish palaces, enclosed by a fortified wall, with thirteen towers, some defensive and some providing vistas for the inhabitants. The river Darro passes through a ravine on the north and divides the plateau from the Albaicin district of Granada. Similarly, the Assabica valley, containing the Alhambra Park on the west and south, and, beyond this valley, the almost parallel ridge of Monte Mauror, separate it from the Antequeruela district. Another ravine separates it from the Generalife. The decorations within the palaces typified the remains of Moorish dominion within Spain and ushered in the last great period of Andalusian art in Granada. With little of the Byzantine influence of contemporary Abassid architecture, artists endlessly reproduced the same forms and trends, creating a new style that developed over the course of the Nasrid Dynasty.