Cordova: A city of the Moors

by Albert Frederick Calvert; Walter M. Gallichan

The interior glittered with gold, silver, precious stones, mosaics, and hundreds of lamps of brass. By the side of the priest stood a mighty wax candle, and the scent of the burning aloes, ambergris, and perfumed oils in the lanterns drifted through the tangled arches of the long naves. Some of the brass lamps were made out of bells taken from Christian churches. The pulpit was seven years in the making. It was of ivory, ebony, sandal, aloe, and citron wood, with nails of gold and silver. Eight artists lavished their skill upon the designing and adorning of this pulpit. In the wondrous mih-rab the walls were of pure gold. A copy of the Koran in a gold case, set with pearls and rubies, was kept in the pulpit. It was taken away by Abu-Mohammed on one of his campaigns, and was finally lost to the faithful.

The building of the Mosque began in 785 or 786, and throughout the rule of the Omeyyad monarchs there were constant additions to the Zeca of Abd-er-Rahman I. As Cordova grew, and strangers flocked to the city from North Africa and Arabia, it was found necessary to provide a larger edifice for the worshippers. In the time of Abd-er-Rahman II., the House of Purification was enlarged by the addition of several aisles, two porches were added, and a new mih-rab was constructed. The columns were gilded at this period at the direction of the Sultan. During the reign of Mohammed I. the work was continued; the walls and portals were improved, and the maksurrah, or railed sanctum for the Khalif, was also built. The ruler attended the services in great pomp on Fridays, approaching the Mosque by an underground passage from his palace.

Hisham’s temple covered an area of 460 feet from north to south, and 280 feet from east to west. It was flanked by stout, fortified walls, with watch-towers and a tall minaret. The number of the outer gates was nine, and of the inner doors eleven. These doors led to the same number of naves within the Mosque. The court had spacious gates on the north, west, and east sides, and fountains for the purification of the pious. The naves were eleven in number, stretching from north to south, and these were crossed by twenty-one smaller naves running from east to west.

In the Mezquita of Cordova we see the first examples of the true Arabian architecture, whose purity was lost at a later date in the style of the Almohades. The Estilo Sarraceno, or earlier style of design and decoration, has an example in the beautiful Puerta del Perdon of the Mosque of Cordova. We learn that by the year 1282 the fashion in form and adornment had so greatly changed, that the Moors who then remained in the city appeared unable to follow the tradition of their craft in decorating the interior of the cathedral. Even in the reign of Almanzor, the specific style of the Arabs was giving place to less beautiful conceptions of line and decoration. Nevertheless, it is generally admitted that the Mosque is the finest example in Europe of the Moorish religious edifice. It maintains uniformity in the plan of its construction, while the dimensions are enormous, and the adornment elegant and characteristic of the art of Islam in the flower of its might and magnificence.

Abd-er-Rahman III. assumed his title of Khalif with the style of En-Nāsir li-dīni-llāh, ‘the Defender of the Faith of God,’ added to the Mosque a new tower, and renovated the ancient façade. The minaret contained two staircases, which were built for the separate ascent and descent of the tower. On the summit there were three apples, two of gold and one of silver, with lilies of six petals. The minaret is four-faced, with fourteen windows, having arches upon jasper columns, and the structure is adorned with splendid tracery.

Long before the final stages in the history of the Omeyyad builders, the Moslem temple of Cordova was deemed one of the greatest marvels of architecture in the world. The chroniclers and poets of the period unite in applauding the zeal of the sovereigns who expended such vast treasure in furthering the glory of Allah by the erection of this sumptuous and dazzling tabernacle. Abúlmothanne, the poet, wrote of the Mosque: ‘To it the pilgrims resort from all parts of the world, as if it were the sacred temple of Mekka. Indeed, its mih-rab, when examined, will be found to contain rokn (angles) as well as makárn (standing-place).’ And another singer proclaimed that the Mosque, which was consecrated to God, was ‘without equal in the world.’

Hakem II., Al-Mostansir-billáh, greatly increased the size of the building. This just and cultured ruler caused the construction of the third mih-rab, which was over four years in the making and rivalled all the previous work in this gorgeous part of the Mosque. The new sanctuary was crowned with a splendid cupola, and the marvellous mosaics of foseyfasa were introduced. Hakem also designed a fresh maksurrah for the Sultan, a space enclosed by an ornate wooden fence or screen, which was beautifully domed in the Byzantine style.

Hakem II. was not only occupied in extending and adorning the interior of the Mezquita. During his busy reign in Cordova, the immense library was enlarged by contributions of manuscripts upon all subjects, gathered from every part of the civilised nations. But the library, with its unique treasures of Oriental lore, and its works of science in many languages, was lost to the world upon the wrecking and downfall of the city. The fruit of Hakem’s devotion remains, however, in the most gorgeous and lovely embellishments of the Mosque. This Khalif also built an alms-house adjoining the temple, and quarters for the residence of the preachers and officials of the house of worship.

The style introduced by Hakem II. is seen in the Puerta Murada, in the holy mih-rab, and the part once occupied by the maksurrah. This sovereign delighted in rich colouring, in splendour and daring in the construction of delicate columns to heavy arches, and in the extension of the fantastic arched naves. He almost doubled the size of the Mezquita by the extensions on the south side.

Under Almanzor there was no slackening in the enthusiasm which the Omeyyad family exhibited in improving Cordova and extending and beautifying its famous House of Purification. The part added to the Mosque by Almanzor is that behind the altar, to the left, when entering by the Door of Pardon. The enlargement during this Khalif’s rule was towards the east. New rows of columns, numbering eight, were added, giving a fresh sense of vastness to the aisles and vistas of interlaced arches.