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Thursday, November 21st, 2024
the Week of Proper 28 / Ordinary 33
Bible Encyclopedias
Algum
1911 Encyclopedia Britannica
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or Alaiug Tree. The Hebrew words Algummim or Almuggim are translated Algum or Almug trees in the authorized version of the Bible (see i Kings x. II, 12; 2 Chron. ii. 8, and ix. io, II); almug is an erroneous form (see Max Miller, Science of Language, vol. i.). The wood of the tree was very precious, and was brought from Ophir (probably some part of India), along with gold and precious stones, by Hiram, and was used in the formation of pillars for the temple at Jerusalem, and for the king's house; also for the inlaying of stairs, as well as for harps and psalteries. It is probably the red sanders or red 1 Comptes Rendus, t. cxx. p. 125.2 Astr. Jour. No. 318.
sandal-wood of India (Pterocarpus santalinus). This tree belongs to the natural order Leguminosae, sub-order Papilionaceae. The wood is hard, heavy, close-grained and of a fine red colour. It is different from the white fragrant sandal-wood, which is the produce of Santalum album, a tree belonging to a distinct natural order Santalaceae.
a town of southern Spain, in the province of Granada, 24 m. S.W. of Granada. Pop. (1900) 7679. Alhama is finely situated on a ledge of rock which overlooks a deep gorge traversed by the river Marchan or Alhama; while the rugged peaks of the Sierra de Alhama rise behind it to a height of 6800 ft. The town is largely modern; for over one thousand of its picturesque old Moorish houses, which formerly rose in terraces up the mountain side, were destroyed, together with five churches, the hospital, the theatre, the prison, and Boo of the inhabitants, in an earthquake which took place in 1884. Subscriptions were received from all parts of Spain, and the present town was built at a little distance from its predecessor. Few vestiges of antiquity survived, except the baths from which Alhama (in Arabic " the Bath ") derives its name. These are situated near the river, and appear to have been used continuously since Roman times (c. 19 B.C. - A.D. 409). The temperature of the hot sulphurous springs is about 112° F.; and, as the waters are considered beneficial in cases of rheumatism and. dyspepsia, many visitors come to Alhama in spring and autumn, attracted also by the fine scenery of the district. In the 15th century Alhama, and the neighbouring fortress of Loja, were generally regarded as the keys of the kingdom of Granada, and their capture went far to insure the overthrow of the Moorish power. Alhama was taken by the Spanish marquis of Cadiz in 1482; and its fall is celebrated in an ancient ballad, Ay de mi, Alhama, which Byron translated into English.
an ancient palace and fortress of the Moorish monarchs of Granada, in southern Spain, occupying a hilly terrace on the south-eastern border of the city of Granada. This terrace or plateau, which measures about 2430 ft. in length by 674 ft. at its greatest width, extends from W.N.W. to E.S.E., and covers an area of about 35 acres. It is enclosed by a strongly fortified wall, which is flanked by thirteen towers. The river Darro, which foams through a deep ravine on the north, divides the plateau from the Albaicin district of Granada; 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.
The name Alhambra, signifying in Arabic "the red," is probably derived from the colour of the sun-dried tapia, or bricks made of fine gravel and clay, of which the outer walls are built. Some authorities, however, hold that it commemorates the red flare of the torches by whose light the work of construction was carried on nightly for many years; others associate it with the name of the founder, Mahomet Ibn Al Ahmar; and others derive it from the Arabic Dar al Amra, " House of the Master." (For an account of the period to which the Alhambra belongs, see Granada (city).) The palace was built chiefly between 1248 and 1 354, in the reigns of Al Ahmar and his successors; but even the names of the principal artists employed are either unknown or doubtful. The splendid decorations of the interior are ascribed. to Yusef I., who died in 1354. Immediately after the expulsion of the Moors in 1492, their conquerors began, by successive acts of vandalism, to spoil the marvellous beauty of the Alhambra. The open work was filled up with whitewash, the painting and gilding effaced, the furniture soiled, torn or removed. Charles V. (1516-1556) rebuilt portions in the modern style of the period, and destroyed the greater part of the winter palace to make room for a modern structure which has never been completed. Philip V. (1700-1746) Italianised the rooms, and completed the degradation by running up partitions which blocked up whole apartments, gems of taste and patient ingenuity. In subsequent centuries the carelessness of the Spanish authorities permitted this masterpiece of Moorish art to be still further defaced; and in 1812 some of the towers were blown up by the French under Count Sebastiani, while the whole buildings narrowly escaped the same fate. In Scale of Yards 0 50 Court of Myrtles 6. Modern Entrance z. Hal! of Ambassadors 7. Court of the Vestibule 3. Court of Lions 8. Baths 4. Hall of the Abencerrages g. Court of the Council Chamber 5. Room of the Two Sisters so. Queen's Robing Room ip .
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"p i ?? /rG/ %t l lll11 ?1f-G= ///, ?? i / Uest e of Pomegranates Convento de San Francisco � il, i?ermilio f Puente de la Palma y? ????!!!ii ?? r? , i ?? /'E of/ t % e, l neialife ??? /. 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.
The situation of the Alhambra is one of rare natural beauty; the plateau commands a wide view of the city and plain of Granada, towards the west and north, and of the heights of the Sierra Nevada, towards the east and south. Moorish poets describe 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), which 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 hither 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 5 m. long, which is connected with the Darro at the monastery of Jesus del Valle, above Granada.
The Moorish portion of the Alhambra resembles many medieval Christian strongholds in its threefold arrangement as a castle, a palace and a residential annexe for subordinates. The Alcazaba or citadel, its oldest part, is built on the isolated and precipitous foreland which terminates the plateau on the north-west. Only its massive outer walls, towers and ramparts are left. On its watch-tower, the Torre de la Vela, 85 ft. high, the flag of Ferdinand and Isabella was first raised, in token of the Spanish conquest of Granada, on the 2nd of January 1492. A turret containing a huge bell was added in the 18th century, and restored after being injured by lightning in 1881. Beyond the Alcazaba Emery Walker se is the palace of the Moorish kings, or Alhambra properly so-called; and beyond this, again, is the Alhambra Alta (Upper Alhambra), originally tenanted by officials and courtiers.
In spite of the long neglect, wilful vandalism and 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 cathedral of Cordova, 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 i 5th 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 rre de 1 a Plaza de la Artilleria 1 l � Plaza de t orte de los Picos (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 Alcaz� from the Moorish palace. To the left of the passage rises the Torre del Vino (Wine Tower), built in 1 3 45, 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. Its construction, 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 140 ft. long by 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 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 Sala de los Ambajadores (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 3 7 ft. in length, while the centre of the dome is 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. 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 fa�e, 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.
The celebrated Patio de los Leones (Court of the Lions) is an oblong court, 116 ft. in length by 66 ft. 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. 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, &c.; 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.
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 15 ft. by 71 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 summerrooms, 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 1 3 20, and belonging to the first period of Moorish porcelain. It is 4 ft. 3 in. high; the ground is white, and the enamelling is blue, white and gold.
Of the outlying buildings in connexion 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 1 3 th 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.
See Plans, Elevations, Sections and Details of the Alhambra; from drawings taken on the spot by J. Goury and Owen Jones; with a complete translation of the Arabic inscriptions and a historical notice of the Kings of Granada, by P. de Gayangos. These two magnificent folios, though first published in London between 1842 and 1845, give the best pictorial representation of the Alhambra. See also Rafael Contreras, La Alhambra, El Alcdzar, y la gran Mezquita de Occidente (Madrid, 1885); The Alhambra, by Washington Irving, was written in 1832, and rewritten in 1857, when it had already become widely celebrated for its picturesque and humorous descriptions. A wellillustrated edition was published in London in 1896.
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Bibliography Information
Chisholm, Hugh, General Editor. Entry for 'Algum'. 1911 Encyclopedia Britanica. https://www.studylight.org/encyclopedias/eng/bri/a/algum.html. 1910.
