The Alhambra (Arabic: الحمراء=Al-Ħamrā'; literally "the red palace") is a palace and fortress complex of the Moorish monarchs of Granada, in southern Spain (known as Al-Andalus when the fortress was constructed), occupying a hilly terrace on the south-eastern border of the city of Granada.It was the residence of the Muslim kings of Granada and their court, but is currently a museum exhibiting exquisite Islamic architecture. A Renaissance palace was also inserted by Charles V, Holy Roman Emperor.
Alhambra, signifying in Arabic the red (Al Hamra الحمراء), derives from the colour of the red clay of the surroundings of which the fort is made. The buildings of the Alhambra were originally whitewashed; however, the buildings now seen today are reddish.
Moorish poets described it as "a pearl set in emeralds," in allusion to the brilliant colour of its buildings, and the luxuriant woods round them. The park (Alameda de la Alhambra), in spring is overgrown with wild-flowers and grass, was planted by the Moors with roses, oranges and myrtles; its most characteristic feature, however, is the dense wood of English elms brought thither in 1812 by the Duke of Wellington. The park is celebrated for the multitude of its 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 miles) long, which is connected with the Darro at the monastery of Jesus del Valle, above Granada.
In spite of the long neglect, willful 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 Mezquita 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.
