Moorish Revival architecture

It reached the height of its popularity after the mid-19th century, part of a widening vocabulary of articulated decorative ornament drawn from historical sources beyond familiar classical and Gothic modes.

By the mid-19th century, the style was adopted by the Jews of Central Europe, who associated Moorish and Mudéjar architectural forms with the Golden age of Jewish culture in Spain.

In Catalonia, Antoni Gaudí's profound interest in Mudéjar heritage governed the design of his early works, such as Casa Vicens or Astorga Palace.

The aim was to promote Bosnian national identity while avoiding its association with either the Ottoman Empire or the growing pan-Slavic movement by creating an "Islamic architecture of European fantasy".

The National and University Library of Bosnia and Herzegovina in Sarajevo is an example of Pseudo Moorish architectural language using decorations and pointed arches while still integrating other formal elements into the design.

In the United States, Washington Irving's fanciful travel sketch, Tales of the Alhambra (1832), first brought Moorish Andalusia into readers' imaginations; one of the first neo-Moorish structures was Iranistan, a mansion of P. T. Barnum in Bridgeport, Connecticut.

[7] In the 1860s, the style spread across America, with Olana, the painter Frederic Edwin Church's house overlooking the Hudson River, Castle Garden in Jacksonville and Longwood in Natchez, Mississippi usually cited among the more prominent examples.

Under dozens of Moorish domes and lambrequin, polylobed, and keyhole arches, Saltair housed popular clubs, restaurants, bowling alleys, a hippodrome, rollercoaster, observation deck for the surrounding desert, and what was marketed as the largest dance hall in the world.

The 1914 Pittock Mansion in Portland, Oregon incorporates Turkish design features, as well as French, English, and Italian ones; the smoking room in particular has notable Moorish revival elements.