A series of monumental buildings constructed in the centers of major American cities in the second and third decade of the twentieth century bear architectural ornament and inscriptions made famous in the fourteenth-century Nasrid palace of Granada, the Alhambra. These buildings, all constructed as "Temples" for the Middle-Eastern themed Masonic fraternity known as the Shriners, were designed as public-facing symbols of the order's esoteric, Islamic-inspired rituals. This paper focuses on three buildings: Medinah Temple (1912), now a Bloomingdale’s in Chicago, Mecca Temple (1923), now New York City Center in New York, and Yaarab Shrine Temple (1929), now the Fox Theater in Atlanta. Based on the architecture of these buildings, writings by and about the Shriners, and related texts and objects, I will explore what the Alhambra and al-Andalus, as a locus of "European" Islam, meant to the elite American men who patronized and frequented Shriner constructions. I argue that the Alhambra’s architecture represented exactly the same fusion of “ancient,” Eastern, Islamic knowledge and European heritage that the men who participated in the Shriners sought to project. The Shriners adopted hallmarks of the Alhambra’s architecture to affiliate themselves with what they imagined to be the glories of al-Andalus and the beauty of Islamic civilization, without relinquishing a rootedness in Europe. I will also examine how these ideas about race, religion and al-Andalus were being contested between the Shriners and Black civic groups -- through language, material culture and a legal case that would go to the US Supreme Court.