Motion Picture News (Oct-Dec 1930)

60 Motion P i c I u r c N e it' November 1 , 19 30 1HAYE decorated the interior of the Granada Theatre, Walthamstow, England, in Moorish style, or, as the man in the street calls it, "Spanish" style. That "Moorish" style of which so many restaurants. Turkish baths, casinos, etc.. are nefarious examples, is no more Moorish than the so-called Spanish style. The style of architecture and decoration of the Alhambra Palace at the Spanish town of Granada was imported into Spain by the Moors or Arabs who conquered the country and who, in mentality and religion, had nothing in common with the original Spanish inhabitants. About 1,2()0 years ago the Moors, Musselmans of the North African desert, overran a good part of the World, reaching the Indies in the East. West Africa in the West and in Southeastern Europe, stopping at the Gates of Vienna. They established themselves particularly firmly in Spain, which has never since been so prosperous, happy and well governed as it was under the Moorish invaders. Wherever the Moors came they brought with them a culture dating from the ancient Persian Kings, a literature and an art which was specially rich in the sphere of architecture. The monuments of architecture which were left by the Arabs in Spain after their expulsion are what are known today as examples of the "Moorish" style. The Embellishments of Moorish Motif Add Beauty of Tone to the Interior of the Granada. Walthamstow, England Probably on account of its picturesque qualities, its whimsicality and multi-colored character it was so much favored in the nineteenth century for restaurants, night haunts, etc. We can call to mind places the world over known as the "Alhambra," "Mauritania," etc., which, however, do no justice to the originals. Those responsible for the exterior and interior of those places of amusement usually tried the "Moorish experiment" by merely imitating or copying the genuine article. Apart from the fact, if I may venture to say so, that they were not people of any great taste or discernment, it is not possible to reproduce faithfully Moorish decoration without using the same materials as the Moors, who worked, one might say, like jewellers on a large scale when embellishing their Mosques and Palaces. Paint and Plaster Unused Paint they used but seldom, and of plaster they knew nothing, but stones of various kinds and colors, marbles, carved woods, and a variety of metals were the materials utilized by a people who were not only architects in the matter of building, but sculptors, carvers and metalsmiths as well. They did not add color by daubing or painting the walls, but by glazed tiles and a clever combination of different materials. Thev relied, for the Errors and Blunders IN WHICH AN AUTHORITY TRACES THE HISTORY OF MOORISH AND SPANISH ARCHITECTURE By THEODORE KOMISARJEVSKY Formerly Director, Moscow Art Theatre full effects of their work to be manifest, on light and shade, on sun and moonlight. But that sunlight was of the South and that moon of the Arabian Nights ! So the effects achieved by the Moors in their buildings in the Iberian Peninsula cannot be reproduced without the Southern heavens even if the same materials were to be used. Thus, the Moors, relying on the assistance of Nature, left wide openings in the walls to admit light, and even small rooms, usually plain in decoration, had fantastically shaped grilles over numerous windows whereby the sun rays and moonbeams might make decorative shadows m the walls ! Copying the Spanish buildings of the Arabs in order to give an impression of Moorish architecture is out of the question, in a northern country. Firstly, because the materials used in the original would be prohibitive for any commercial undertaking and, secondly, because even by faithfully substituting paint and plaster for those materials the resulting impression would be one of cheapness and disharmony. Beside this, there is another consideration and probably the most important, i. e., the proportions of modern buildings and the arrangement of the rooms are directly antagonistic to the Moorish plans of construction. In order to convince oneself of this fact, it is quite sufficient to look at the Court of the I. inns of the Alhambra Palace at Granada and to compare it with the entrance hall of any of the modern palatial luxury hotels. No less convincing would it be to compare a modern kitchen fitted with electric cooking apparatus. American sinks, refrigerators, patent dish-washing machines, etc., with the beautiful, simple (Continued on paijc 98)