Editing Alhambra (section)

=== Recovery and modern restorations ===
[[File:Weeks Edwin Lord A Court in The Alhambra in the Time of the Moors.jpg|thumb|''A Court in the Alhambra at the Time of the Moors'', Edwin Lord Weeks, 1876|left]]
As early as the second half of the 18th century, the Alhambra's appearance and details began to be documented by Spanish illustrators and officials.{{Sfn|Eldem|2024|p=|pp=23–24}} By the first decade of the 19th century, other European writers began to bring attention to it{{Sfn|Eldem|2024|p=|pp=22–25}} and the site subsequently became an object of fascination for Western [[Romanticism|Romanticist]] writers, whose publications frequently sought to evoke a contrast between the ornate architecture of the former Moorish palaces and their current state of ruin and neglect.{{Sfn|López|2011|p=302}}{{Sfn|Irwin|2004|p=|pp=139, 145}} This also coincided with a growing European interest in the [[Orient]] ([[Orientalism|Orientialism]]), which encouraged an emphasis on [[exoticism]] and on the "oriental" attributes of the Alhambra.{{Sfn|López|2011|p=302}}{{Sfn|Eldem|2024|p=|pp=48–54}} This rediscovery of the Alhambra was led mostly by French, British, and German writers.{{Sfn|Eldem|2024|p=22}} In 1830, the American writer [[Washington Irving]] lived in Granada and wrote his ''[[Tales of the Alhambra]]'', first published in 1832, which played a major role in spurring international interest in southern Spain and in its Islamic-era monuments like the Alhambra.{{sfn|RingSalkinLa Boda|1995|p=298}}{{Sfn|López|2011|p=303}} Other artists and intellectuals, such as [[John Frederick Lewis]], [[Richard Ford (English writer)|Richard Ford]], [[François-René de Chateaubriand]], and [[Owen Jones (architect)|Owen Jones]], helped make the Alhambra into an icon of the era with their writings and illustrations during the 19th century.{{Sfn|López|2011|p=303}}{{Sfn|Irwin|2004|p=|pp=144–157, 164–167}}{{Sfn|Eldem|2024|p=|pp=26–35}}
[[File:-Courtyard of the Lions, Alhambra, Granada- MET DP366396.jpg|thumb|Pavilion in the Court of the Lions in 19th-century photo, showing the "oriental" dome added by Rafael Contreras in 1859, later removed by [[Leopoldo Torres Balbás]]]]
Restoration work on the Alhambra was undertaken in 1828 by the architect José Contreras, endowed in 1830 by [[Ferdinand VII of Spain|Ferdinand VII]]. After the death of Contreras in 1847, it was continued by his son Rafael (died 1890) and his grandson Mariano Contreras (died 1912).<ref name="Chisholm" /><ref>{{Cite web |title=Alhambra {{!}} Palace, Fortress, Facts, Map, & Pictures {{!}} Britannica |url=https://www.britannica.com/topic/Alhambra-fortress-Granada-Spain |access-date=2022-02-25 |website=www.britannica.com |language=en |archive-date=29 January 2022 |archive-url=https://web.archive.org/web/20220129174214/https://www.britannica.com/topic/Alhambra-fortress-Granada-Spain |url-status=live }}</ref> The Contreras family members continued to be the most important architects and conservators of the Alhambra up until 1907.{{Sfn|López|2011|pp=304–305}} During this period, they generally followed a theory of "stylistic restoration", which favoured the construction and addition of elements to make a monument "complete" but not necessarily corresponding to any historical reality. They added elements which they deemed to be representative of what they thought was an "Arabic style", emphasizing the Alhambra's purported "[[Orientalism|Oriental]]" character. For example, in 1858–1859 Rafael Contreras and Juan Pugnaire added Persian-looking spherical domes to the Court of the Lions and to the northern [[portico]] of the Court of the Myrtles, even though these had nothing to do with Nasrid architecture.{{Sfn|López|2011|pp=304–305}}{{Sfn|Irwin|2004|pp=30–31}}

In 1868, a [[Glorious Revolution (Spain)|revolution deposed Isabella II]] and the government seized the properties of the Spanish monarchy, including the Alhambra. In 1870 the Alhambra was declared a [[National monuments of Spain|National Monument]] of Spain and the state allocated a budget for its conservation, overseen by the Provincial Commission of Monuments.{{Sfn|López|2011|p=305}} Mariano Contreras, the last of the Contreras architects to serve as director of conservation of the Alhambra, was appointed as architectural curator in April 1890. His tenure was controversial and his conservation strategy attracted criticism from other authorities.<ref name=":10">{{Cite web |title=Mariano Contreras Granja {{!}} Real Academia de la Historia |url=https://dbe.rah.es/biografias/44265/mariano-contreras-granja |access-date=2022-02-25 |website=dbe.rah.es |archive-date=25 February 2022 |archive-url=https://web.archive.org/web/20220225210400/https://dbe.rah.es/biografias/44265/mariano-contreras-granja |url-status=live }}</ref> In September 1890, a fire destroyed a large part of the ''Sala de la Barca'' in the Comares Palace, which highlighted the site's vulnerability.<ref name=":10" />{{Sfn|López|2011|pp=303–304}} A report was commissioned in 1903. This resulted in the creation of a "Special Commission" in 1905. The Special Commission was tasked  to oversee conservation and restoration of the Alhambra. The commission ultimately failed to exercise control due to friction with Contreras.<ref name=":10" />{{Sfn|López|2011|p=|pp=304–305}} In 1907, Mariano Contreras was replaced with Modesto Cendoya, whose work was also criticized. Cendoya began many excavations in search of new artifacts but often left these works unfinished. He restored some important elements of the site, like the water supply system, but neglected others.<ref name=":11">{{Cite book |last=Ruggles |first=D. Fairchild |title=Envisioning Islamic Art and Architecture: Essays in Honor of Renata Holod |publisher=Brill |year=2014 |isbn=978-90-04-28028-1 |editor-last=Roxburgh |editor-first=David J. |pages=1–21 |chapter=Inventing the Alhambra}}</ref>{{Sfn|López|2011|pp=304–305}}<ref name=":12">{{Cite web |title=Modesto Tiburcio Cendoya Busquets {{!}} Real Academia de la Historia |url=https://dbe.rah.es/biografias/47303/modesto-tiburcio-cendoya-busquets |access-date=2022-02-25 |website=dbe.rah.es |archive-date=25 February 2022 |archive-url=https://web.archive.org/web/20220225210402/https://dbe.rah.es/biografias/47303/modesto-tiburcio-cendoya-busquets |url-status=live }}</ref> Due to continued friction with Cendoya, the Special Commission was dissolved in 1913 and replaced with the council (''Patronato'') of the Alhambra in 1914, which was charged again with overseeing the site's conservation and Cendoya's work. In 1915, it was linked directly to the Directorate-General of Fine Arts of the Ministry of Public Education (later the Ministry of National Education).<ref name=":12" /><ref name=":11" />{{Sfn|López|2011|pp=304–305}} Like Mariano Contreras before him, Cendoya continued to clash with the supervisory body and to obstruct their control. He was eventually dismissed from his post in 1923.<ref name=":12" />
{{multiple image
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| image1      = Alhambra before adornments started.jpg
| alt1        = 19th century
| image2      = Alhambra, Alcazaba, Torre Quebrada 01 (4392663424).jpg
| alt2        = 21st century
| footer_align = center
| footer      = The Alcazaba before and after 20th-century restoration work (view of the ''Torre Quebrada'')
| align       = 
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| total_width = 400
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}}

After Cendoya, [[Leopoldo Torres Balbás]] was appointed as chief architect from 1923 to 1936. The appointment of Torres Balbás, a trained [[Archaeology|archaeologist]] and [[Art history|art historian]], marked a definitive shift to a more scientific and systematic approach to the Alhambra's conservation.{{Sfn|López|2011|pp=304–305}}<ref name=":12" /> He endorsed the principles of the 1931 [[Athens Charter (preservation)|Athens Charter for the Restoration of Monuments]], which emphasized regular maintenance, respect for the work of the past, legal protection for heritage monuments, and the legitimacy of modern techniques and materials in restoration so long as these were visually recognizable.{{Sfn|López|2011|pp=304–305}} Many of the buildings in the Alhambra were affected by his work. Some of the inaccurate changes and additions made by the Contreras architects were reversed.{{sfn|López|2011|pp=135, 142}}{{sfn|Irwin|2004|p=30}} The young architect "opened arcades that had been walled up, re-excavated filled-in pools, replaced missing tiles, completed inscriptions that lacked portions of their stuccoed lettering, and installed a ceiling in the still unfinished palace of Charles V".<ref>Roxburgh, David J. (ed.) (2014). ''Envisioning Islamic Art and Architecture''. Brill. {{ISBN|9789004280281}}, pp. 18–19.</ref> He also carried out systematic archaeological excavations in various parts of the Alhambra, unearthing lost Nasrid structures such as the ''Palacio del Partal Alto'' and the Palace of the Abencerrajes which provided deeper insight into the former palace-city as a whole.{{Sfn|López|2011|pp=304–305}}{{Sfn|Arnold|2017|pp=237–239}}

The work of Torres Balbás was continued by his assistant, Francisco Prieto Moreno, who was the chief architectural curator from 1936 to 1970.{{Sfn|López|2011|pp=304–306}} In 1940, a new Council of the Alhambra was created to oversee the site, which has remained in charge ever since.{{Efn|The Council was known as the "Council of the Alhambra and of the Palace of Charles V" until 1951, when it became known as the "Council of the Alhambra and the Generalife".{{sfn|López|2011|p=307}}}} In 1984 the central government in [[Madrid]] transferred responsibility for the site to the [[Regional Government of Andalusia]] and in 1986 new statutes and documents were developed to regulate the planning and protection of the site.{{Sfn|López|2011|pp=306–307}} In 1984 the Alhambra and Generalife were also listed as a [[World Heritage Site|UNESCO World Heritage Site]].<ref name="UNESCO" /> The Alhambra is now one of the most popular tourist destinations in Spain. Research, archaeological investigations, and restoration works have also remained ongoing into the 21st century.{{Sfn|Bloom|2020|pp=153-155}}