Customer Reviews

The Alhambra

5 star:		(2)
4 star:		(1)
3 star:		(4)
2 star:		(0)
1 star:		(2)

 

 

One is almost immediately captured by this book from the very opening paragraphs - there is wonderful description of the Alhambra from the perspective of tourist guidebooks which would lead a visitor through the many palaces, chambers, and courts, filling in detail about the history from both Muslim and Christian eras. Then author Robert Irwin lets the reader know the sad truth - almost all of what is presented on this virtual tour is almost all false. The Alhambra is, if nothing else, a greatly misunderstood place, perhaps an architectural embodiment of Emerson's dictum about greatness.

The Alhambra, a grand structure on the outskirts of Granada in southern Spain, is in fact a series of palaces, perhaps more akin to the Forbidden City in China than any European or Islamic palatial counterpart. It is also the only medieval Islamic palace to survive - tradition was among Islamic rulers was to abandon the palace of the old ruler in favour of building a new one, and often the old palaces were razed for building materials - if not by the new ruler, then by the population around the old palaces, now no longer guarded. It is somewhat ironic that it may be because the Alhambra came to be part of Christendom that it, as a classic Islamic building, came to survive at all.

Irwin gives a revised tour of the facility following the virtual tour of false information - in this he describes the different palaces, the functions of different buildings and courtyards, and the influence the Alhambra has had both in artistic imagination as well as political and military significance.

There are bits of fancy here - the Sala de los Mocarabes, a room whose name comes from the stalactite decorations on the ceiling, is in fact a room without stalactite decorations (those having been burned centuries ago, but the name endures). Names and symbols throughout the buildings incorporate both Islamic and Christianised names, with a not insignificant Jewish influence as well in many respects. The Alhambra was built and preserved over a period of social tolerance and cultural flowering, but allowed to fall fallow during Spain's slow decline as a world power.

People such as Washington Irving, Benjamin Disraeli, the Duke of Wellington, the vicomte de Chateaubriand, Victor Hugo and other notables of later mainstream Anglo-American and European culture drew inspiration from and were fascinated with the Alhambra. Indeed, some artists of some periods began to have a distaste for the kinds of Arabesque and medieval influences derivative of the Alhambra, for it has become far too commonplace in their opinion. More modern figures such as Jorge Luis Borges have also drawn inspiration from the site.

Robert Irwin's book is a treat to read, giving a sense of the place from an aesthetic, philosohpical, architectural, and historical sense. His tracing of the influences expanding from this almost mythical and mystical place is fascinating.

The good: debunks some of the myths, gives a good background to some of the names and how the appearance was radically altered by perceptions of what people thought (and what they wanted to think) represented Moorish architecture.

The bad: He spends so much time explaining why this or that is not true that we almost learn about the Alhambra by what it is not. He never really gets has a together, narrative history here, which makes it difficult to get a 'grasp' on the place by just reading this book alone.

Also He unfairly criticizes Irving's Tales of The Alhambra (apparently Washington Irving was at once dull, but too imaginative, prejudiced against Moors but sympathetic to Bobadil, cheering for the Spanish yet anti-Catholic - and yes Irwin contradicts himself on the same page!) while (strangely) praising movies like the 7th Voyage of Sindbad (which was filmed there). Shows a lack of understanding or depth about Orientalist Art, which doesn't stop him from talking about it.

The guide he suggested to buy, available at the site and in Granada, is far better- (unfortunately not available in the US) its published by Ediciones Edilux, called "in focus' in English and available online if you google it.

Visiting the Alhambra is a once in a lifetime, must do event. See it first from the plaza adjacent to the little church of St. Nicholas across the valley. And when you do finally go in to the Alhambra, bring this guide.

It's the sort of guide one might have had when visiting this place two hundred years ago--more Baedeker than Lonely Planet. It emphasizes the wonder of the place rather than entrance prices and opening times. Written in a narrative style that plays up the history of this magnificent palace, it is a joy to read both before and during one's visit. In fact, a careful reading of the book prior to visiting the Alhambra is bound to enhance the visit tremendously (as, after all, the Alhambra is so popular you'll be limited to a 15 to 30-minute window to make your entrance into the most stunning part of the complex, the Nasrid palace.) For that reason you'll want to know ahead of time what you'll be looking at, because once you're inside the rooms and courtyards go by in a blur--a gorgeous procession of delicate columns and sparkling fountains. If you're trying to read your guidebook for the first time in the midst of it all, you'll miss most of it. Once you are inside, you're much better off just using the book for a quick consultation as you enter each new room, gallery, or alcove.

Irwin's 'Alhambra' tells you what you really need to know about this place (one of Europe's most magnificent palaces) including the unfortunate fact that much of what you will see (or are seeing) has been recreated; the presumed use of each area of the palace is at best an educated guess (and at worst, a shot in the dark). Even some of the carved inscriptions are misleading (assuming you can read medieval Arabic). As Irwin notes: "...Contreras, who knew no Arabic, rearranged them [the inscriptions] in such a way that it is no longer possible to make sense of them" (p. 47, hardbound). Regardless, there is beauty in this truth, and this book has it in spades. Your standard tourist guidebook will not confront you with such sincerity (although you'll need it for the basics mentioned above: entrance prices, opening times, etc., as Irwin is not concerned with those).

The hardbound version of Irwin's 'The Alhambra' makes a great keepsake to remind you of your visit, and you can put it on your shelf next to the copy of Washington Irvings' 'Tales of the Alhambra' you picked up in the gift shop. Bottom line--if you are going to visit the Alhambra, do it right: bring this book, and read it ahead of time.

The Al Hambra is one of the few medieval structures from the Islamic World that is still standing today. It is considered "... by common consent, one of the most beautiful buildings in the world and there are many who would even go beyond that qualified judgement." (authors words).

For a person reading about Al-Hambra for the first time, this book gives a good description of the rooms, how these rooms may have been used and a description of the very delicate yet complicated abstract geometric patterns that cover the walls and ceiling of the Al-Hambra structures.

I was not too keen about the last chapter where the author described what others wrote about the Al Hambra or how the British and French viewed the place. I was only interested in the history of the structure itself and the people who occupied and built it. I would have preferred to see more details of the society and the minds that created such a unique and amazing structure.

The book is well written and interesting but I have to admit I will try to get a copy of Washington Irwins book on the Al Hambra, as recommended by other reviewers of this book.

The book gives a good overview of the history of Alhambra palace and Islamic Spain. Some minor translation problems as the author try to root some of the names of the various rooms in the palace to its Arabic origin. Nonetheless, the book is well written, and is an excellent source for beginners on the Alhambra palace.

This book was a good introduction to Alhambra Palace in Granada, Spain. It had the map of the palace and explanation of each room and was small enough to carry in my bag. Since you won't get anything at Alhambra itself (unless you get the tour guide or audio guide), you will need some kind of reference to help you navigate around. The place is HUGE! The writing itself was bit boring and my eyes glazed over most of the book, but it is an interesting starting point if you are thinking of visiting Alhambra. How much of this palace is original? Who cares? The place is AMAZING! I highly recommend a visit to this palace if you are in Southern Spain. (If you are thinking of visiting, you need to book in advance. The tickets get sold out very, VERY, fast -- especially the daytime visits.)

This little book is packed with the author's detailed opinions about the history of this marvel. It's good reading to prepare one for a visit, but it left me wondering if the legends that the author debunks may not be a prophecy of what tomorrow's scholars may think of this work.

I'm sorry to say that I never received the book. It was lost in the mail but I was returned the full credit.

Thank you

Page one, paragraph one has two glaring errors. First, there are indeed figurative paintings in the Alhambra. They are painted on leather decorating the ceilings of the recesses in the Hall of Kings. Second, Columbus did not present his plan to cross the Atlantic to Ferdinand and Isabella at the Alhambra but at Santa Fe, their encampment several miles outside of Granada.
I didn't bother to read further. This book promised to be worthless.