Search Results (15)

The palatial architecture of the Nasrid Alhambra in Granada was organized around courtyards that have been restored or transformed over the centuries. This research analyzes and graphically recreates a wooden gallery that was built in the Patio del Cuarto Dorado (Courtyard of the Golden Room) by the Catholic Monarchs, which disappeared around 1872. The methodology is based on the compilation of documentary sources and graphic analysis as the basis for new manual and digital drawings. Although no archival documentation detailing its construction or demolition has been identified, a large set of historical images (plans, views, and photographs) has been gathered, analyzed, and arranged chronologically. From these, freehand sketches were drawn to understand its construction elements, using other preserved galleries as a reference. Using this graphic documentation and measurements of the current courtyard, scale drawings were made. All of this allowed for the creation of a reconstructed digital model, the digital fabrication of a small-scale model, and the development of new representational graphics using advanced media. In this way, the aim is to understand and introduce the gallery that occupied this courtyard for centuries, offering a new view of the complex transformations of an architectural complex included on the UNESCO World Heritage List. Full article

The Monastery of San Salvador de Oña (Burgos) is a Benedictine site that has undergone substantial modifications since its foundation in the 11th century and preserves a significant corpus of Medieval, Renaissance, and Baroque artistic remains. Among these, the refectory stands out as a particularly distinctive ensemble, exhibiting sculptural influences from the Burgundy region and serving as a notable example in terms of structure, craftsmanship, and decoration. Material characterization analyses of this ensemble have not only identified the range of pigments present but also documented metallic materials and applied decorative elements, providing the basis for a proposed chronological framework for the various pictorial strata and stages. A detailed examination of the metallic materials and their overlaying layers has facilitated a comprehensive analysis focused on materiality, manufacturing techniques, and methods of application, while also situating the decoration within its historical, artistic, and cultural context. Full article

This study examines the architectural ceramic corpus—comprising azulejos (tiles) and alicatados (tiling mosaics)—preserved in the Alhambra Museum, with the aim of elucidating its historical, artistic, and technical significance. Through a systematic methodology combining visual analysis, documentary research, and typological classification, a representative selection of ceramic artefacts was assessed. This article explores the artistic characteristics and technological principles of pieces produced using painted, relief, metallic lustre, incrustación, alicatado, cuerda seca, and arista techniques and reconstructs the historical trajectory of these decorative practices, tracing their origins in the pre-Islamic world to their adaptation within the Alhambra Palatine City. This diachronic perspective contextualises the innovations observed in the citadel, where production strategies reflect both inherited traditions and local adaptations across different historical phases. The findings highlight the richness and diversity of the Nasrid (mediaeval era) and Christian (modern era) ceramic legacy in the Alhambra and contribute to a more nuanced understanding of manufacturing processes and conservation challenges associated with these architectural elements. This preliminary characterisation establishes a basis for future material analysis and supports broader initiatives in documentation and heritage management. Full article

Color reintegration is a restoration treatment that involves applying paint or colored plaster to an object of cultural heritage to facilitate its perception and understanding. This study examines the impact of lighting on the visual appearance of one such restored piece: a tiled skirting panel from the Nasrid period (1238–1492), permanently on display at the Museum of the Alhambra (Spain). Spectral images in the range of 380–1080 nm were obtained using a hyperspectral image scanner. CIELAB and CIEDE2000 color coordinates at each pixel were computed assuming the CIE 1931 standard colorimetric observer and considering ten relevant illuminants proposed by the International Commission on Illumination (CIE): D65 plus nine white LEDs. Four main hues (blue, green, yellow, and black) can be distinguished in the original and reintegrated areas. For each hue, mean color difference from the mean (MCDM), CIEDE2000 average distances, volumes, and overlapping volumes were computed in the CIELAB space by comparing the original and the reintegrated zones. The study reveals noticeable average color differences between the original and reintegrated areas within tiles: 6.0 and 4.7 CIEDE2000 units for the yellow and blue tiles (with MCDM values of 3.7 and 4.5 and 5.8 and 7.2, respectively), and 16.6 and 17.8 CIEDE2000 units for the black and green tiles (with MCDM values of 13.2 and 12.2 and 10.9 and 11.3, respectively). The overlapping volume of CIELAB clouds of points corresponding to the original and reintegrated areas ranges from 35% to 50%, indicating that these areas would be perceived as different by observers with normal color vision for all four tiles. However, average color differences between the original and reintegrated areas changed with the tested illuminants by less than 2.6 CIEDE2000 units. Our current methodology provides useful quantitative results for evaluation of the color appearance of a reintegrated area under different light sources, helping curators and museum professionals to choose optimal lighting. Full article

The muqarnas are small pieces grouped together, adopting surprising three-dimensional forms. They are a symbol of identity of the 14th century Nasrid architecture at Alhambra in Granada. This research’s aim is to graphically analyze the plaster muqarnas dome located to the south of the Sala de los Reyes, in the Palacio de los Leones. The methodology followed combines historical images analysis and modern digital graphic techniques. First, a compilation of unpublished drawings and photographs documenting architectural transformations and significant alterations in the roof structures since the 16th century is provided. Although these muqarnas were drawn by Jones and Goury in the 19th century, the current research identifies and draws, digitally for the first time, its nearly two thousand pieces of this dome. Additionally, metric data of the current state has been collected using 3D laser scanning, revealing significant deformations. In this way, the knowledge of these fragile architectural elements is achieved to promote their heritage dissemination and to facilitate the conservation of a monumental site included in the UNESCO World Heritage List. Full article

This essay offers a general overview of some of the main artistic, liturgical and musical works inspired by the Capitulation of Granada in favor of the Catholic Monarchs and related to the patronage of Cardinal Pedro González de Mendoza, Cardinal Bernardino López de Carvajal, Archbishop Fray Hernando de Talavera and his circle. Particular attention is paid to the composition of the well-known Oficios de la Toma de Granada (Offices of the Capitulation of Granada). Granada is conceived therein as a New Jerusalem, the center of a mono-religious but multicultural providentialist discourse identified with the Crown of Castile. Such convergent discourses in music, liturgy and the arts, both at the peninsular and European levels, helped turn the nominatissima urbs Granate after the fall of the Nasrid Kingdom in 1492 into an enduring symbol of Hispanic culture. Full article

For 2000 years, the history of Granada has been the story of its peoples—native Iberian, Roman, Jewish, Muslim, Christian and gypsy—who bequeathed a multi-cultural heritage to the city, forged by momentous racial, religious and political conflicts. That heritage is central to Spain’s vexed quest for its own identity, and pre-eminent in that quest is the encounter between Islam and Christianity that took place there. Based on historical sources including oral and written testimonies, early historiography and contemporary historical views, this article considers the answers to two key questions, with specific reference to the Nasrid dynasty of Granada: (i) how did the Nasrids contribute to the culture of Andalusia and the late medieval Mediterranean, and (ii) was religious difference an obstacle to cultural dialogue in Granada in the late Middle Ages? The contention is that Granada’s importance as a meeting place between Islam and Christianity hinges on its apparent transition from Muslim state to Christian enclave, an event crucial to our understanding of the history of the Iberian Peninsula, and also of Europe. Full article

The Alhambra Monumental Ensemble (Granada, Spain) is a unique well-preserved palatine city from the medieval Islamic period, and it constitutes the best example of Nasrid architecture. In this work, we focus on the study of one of its most unknown decorations: Wall paintings with the appearance of red bricks. These faux-brick decorations are found in many different locations within the Alhambra complex, including both exterior and interior walls, arches and vaults. We have considered locations from different Nasrid reigns to gain information about their characteristics in terms of materials, execution techniques and conservation state. They have been studied combining a non-invasive methodology using portable equipment (X-ray fluorescence (XRF) and Raman spectroscopy) with complementary studies on selected samples (Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDS) and Raman microimaging). In general, those located in the exterior are poorly preserved, in contrast with the good conservation state of the interior motifs. The red rectangles of these decorations were painted over a white finishing layer, which acted also as the edge lines between these false bricks. The red colour was always due to hematite (α-Fe₂O₃), as revealed by its characteristic Raman bands. The use of a natural red ochre pigment (very abundant in the region) could be hypothesised considering XRF and SEM-EDS results. In general, the white layer was made of lime mortar and the presence of CaCO₃ in the painting layers suggests the use of lime-based techniques (either fresco or mezzo fresco). Only in one of the indoor locations, a different execution technique, based on gypsum (CaSO₄·2H₂O) plaster, was used. The identification of calcium oxalate in this location, in the form of weddellite (CaC₂O₄·2H₂O), can be interpreted as the result of organic binder degradation. Furthermore, superficial contamination with gypsum was always detected in outdoor locations. Full article

Mondújar Castle is an Andalusi fortress located in the Valle de Lecrín (Granada, Spain). It had strategic importance in the final years of the Kingdom of Granada. The king Muley Hacén lived there before passing away, resulting in the popularisation of Romantic legends around its construction. Despite these folktales, the fortress has never been surveyed or restored and a complete architectural graphic study of this place is lacking. Therefore, it is essential to document the architectural heritage to collect relevant information for conservation work. Our main goal is to better understand the origin, architectural influences and building phases of the fortress, which requires historical and surveying methods. We present a historical approximation, followed by a photogrammetric survey. This is the first study on the medieval fortress and its subsequent Castilian refortification (executed around 1500). We conclude that it is not plausible that this place was the location of any legendary palaces. Apart from its historical and constructive significance, the use of Islamic funerary elements, probably coming from the Royal Nasrid Cemetery, makes this castle unique. Therefore, the preservation and understanding of this monument should be a priority within the sustainable development of the region. Full article

The Kingdom of Granada occupied the southeast of the Iberian Peninsula, what today would be the current Spanish provinces of Granada, Malaga and Almeria. Having succeeded the Nasrid kingdom of Granada (1238–1492), it remained a geographical and administrative unit until 1834, defended from the advancement of Castilian troops by means of a large network of watchtowers located principally along its inland border. Following the Castilian conquest of Granada, the extensive coastline was also strengthened with a network of towers and fortifications that were progressively adapted to house artillery. A technical survey focusing on the characteristics of their geometrics and construction, as well as their performance in a series of non-destructive tests, such as ambient vibration testing, was undertaken to study the towers’ mechanical strength against both gravitational and seismic loads. The results propose a numerical estimate that defines the fundamental frequency of this type of structure, which in turn can be used to approximate the mechanical properties of the masonry. Such a precise definition based on objective data enables accurate and rigorous numerical analysis of this defensive architecture, thus reducing uncertainties. Furthermore, slenderness is found to be a relevant parameter for adjusting fundamental frequency and for analysing the towers’ historical evolution, enabling their initial height and number of levels to be estimated. Full article

This research documents and graphically analyzes the pavilions muqarnas at the Court of the Lions in the Alhambra in Granada, a World Heritage Site. In order to cast some light on the understanding and preservation of these 14th century architectural elements, after a brief report of historical data on catastrophes and restorations, a novel methodology for the case study based on three complementary graphic analyses is presented here: First, there is a review of outstanding images ranging from the 17th to the 20th centuries; subsequently, new CAD (computer-aided design) drawings from pavilions muqarnas testing the theoretic principles from their geometric grouping are accomplished for the first time; and finally, a 3D laser scanner is used to understand the precise present-day state from the point cloud obtained. Comparing drawings allows us to assess the muqarnas relevance while proving, for the first time, that the muqarnas of both pavilions have distinct configurations and different amounts of pieces. Besides, this process reveals geometric deformations existing in the original Nasrid muqarnas compositions, identifying small pieces hitherto unknown, plus additional deformations resulting from adjustments after important threats that both pavilions and their muqarnas overcame for centuries, despite their fragile construction. Full article

This work presents a spectral color-imaging procedure for the detailed colorimetric study of real artworks under arbitrary illuminants. The results demonstrate this approach to be a powerful tool for art and heritage professionals when deciding which illumination to use in museums, or which conservation or restoration techniques best maintain the color appearance of the original piece under any illuminant. Spectral imaging technology overcomes the limitations of common area-based point-measurement devices such as spectrophotometers, allowing a local study either pixelwise or by selected areas. To our knowledge, this is the first study available that uses the proposed CIE (Commission Internationale de l’Éclairage) light-emitting diode (LED) illuminants in the context of art and heritage science, comparing them with the three main CIE illuminants A, D50, and D65. For this, the corresponding colors under D65 have been calculated using a chromatic adaptation transform analogous to the one in CIECAM02. For the sample studied, the CIE LED illuminants with the lowest average CIEDE2000 color differences from the standard CIE illuminants are LED-V1 for A and LED-V2 for D50 and D65, with 1.23, 1.07, and 1.57 units, respectively. The work studied is a Moorish epigraphic frieze of plasterwork with a tiled skirting from the Nasrid period (12th–15th centuries) exhibited in the Museum of the Alhambra (Granada, Spain). Full article

Due to the conflicts that existed among the kingdoms of the Iberian Peninsula during the Middle Ages, the territories of al-Andalus were protected with defensive architecture that played an influential role on the landscape. The development of these fortresses was necessarily linked to water, either because of the strategic control of a hydraulic resource or because of the need to provide to inaccessible places, as it is often the case of the emplacement of these constructions. The study of their implantation in the territory and the hydraulic elements that they preserve has revealed quite diverse systems of water supply. This paper presents the comprehensive overview that emerged after verifying that many of the existing cisterns, rather than being autonomous and isolated elements, as has often been considered, are strongly related to the organization and development of the fortresses, sometimes located at the end of complex and advanced hydraulic networks, closely linked to the topography of each place. This study is devoted to the water supply systems of some of the most significant fortresses in the last territories of al-Andalus, corresponding to the Nasrid kingdom of Granada (1238–1492). Full article

Architectural heritage preservation and sustainability need advanced graphic techniques in order to document and understand the disposition/composition of plaster muqarnas, a fragile construction element. The muqarnas are key elements in the Nasrid architecture developed during the 14th century in the Alhambra complex, nowadays part of World Heritage. As a case study, this analysis focuses on the muqarnas pendentives of the Sala de la Barca in the Comares Palace. After examining both explanations and drawings published by architects Jones and Goury from 1842 to 1845, our research provides new drawings (plans and elevations) derived from laser scanner technology. Theoretically, though muqarnas are composed of simple geometrical shapes, these new drawings unveil important deformations hitherto unknown, and which have not been studied yet by other bibliographic references. Finally, we provide some considerations about the causes of these deformations and the monument sustainability across the time and the images’ capacity to show the muqarnas complex shapes in a reliable way. Full article

In the following paper, we look at the Alhambra from a perspective of architectural ceramics, an essential element in the understanding of the monument. From the Nasrid era onward, glazed ceramic tile mosaics were used to adorn the walls, a style that extended into the Christian conquest, when the palace complex was used as a royal residence. Since then, restoration work has continued to be carried out on the alicatados that cover the Alhambra’s walls, especially during an intense period in the 19th century, when it was the subject of much interest from Romantic travellers to Granada. A detailed, documented analysis of this work shows the complexity of the palace and fortress complex, helping us to better understand a part of its history. In the following pages, we specifically focus on one room in the Alhambra, the so-called Cuarto Dorado (Golden Room), outlining the preliminary findings of a research project that we are undertaking in association with the University of Granada and the Patronato de la Alhambra y el Generalife (Council of the Alhambra and the Generalife). Full article