The great Mosque was completed in the time of Almanzor, and its completion was the presage of the decline of Arab power in Spain. In extent the building now measures 394 feet by 360 feet. Almanzor put the finishing touches to the work which Abd-er-Rahman I. began. For generations architects, designers, artists, masons, and metal-workers had lovingly toiled to produce a triumph of art.
The Mosque was finished. Almanzor sought to improve upon the designs and bewildering brilliance displayed in the labour of preceding reigns; but it is doubtful whether his endeavours heightened the splendour of the structure, or gave fresh lustre to the building that stood in the days of Hakem II. It is agreed among the authorities upon Moorish art that Almanzor’s contributions to the edifice show evidence of a decline in taste, and a waning of the æsthetic sense of the Arab-Byzantine schools of designers and craftsmen.
When Almanzor died, the Mosque was 742 feet in length from north to south, and 472 feet in width from east to west. It was encompassed by battlemented walls, with towers of irregular height. The south wall was the highest, and it had nineteen towers. The total number of the watch-towers was forty-eight, and the majority of these have survived.
In the stressful days when the Moorish colonisers sought to possess the whole of the Iberian Peninsula, Cordova was stoutly fortified, and the Mosque was protected by this unscalable wall. This barrier of stone is over six feet thick, and designed to withstand the most violent battering. The defences of the sanctuary are very picturesque; there is a subject for the painter at every tower and corner; but they are perhaps a little less wonderful than the grim walls of Avila, or the sombre parapets of brown Toledo. They are made of durable stone, which is marvellously preserved. Many times have these battlements shuddered at the shouts of the fierce besiegers and the determined defenders; often have their stones been stained with the blood of Goth and Moor.
To-day, in the shadow of the walls, we stroll and look upon the calm vistas, the plain, and the cold grey slopes of the sierras, and see the beggars shrinking from the blinding glare of the sun, prone upon the ground in their tatters, in the cool shelter which the tall towers yield. The Mosque dreams, as all things dream in ancient Spain. Its solid outer walls have defied the ravage of storms and wars. They remain weird monuments of Oriental strength, placid and somewhat mournful in their magnificent sufficiency.
V
IN THE COURT OF ORANGES
The Court of Oranges is shaded on one side by the oldest parts of the Mosque. It is much larger than the Orange Court, or Patio de los Naranjos, of the cathedral of Seville. Here was once the Court of Ablutions, the place where the faithful purified themselves before venturing within the Mezquita. The fountains, five in number, remain to remind us of the original character of the courtyard. Women come here to fetch water from the clear springs. They carry tall jars upon their hips, or upon their heads, and loiter by the fountain to gossip.
This quiet court invites the aged and the idler. It is cool and gratefully shaded, and when the orange-trees are in bloom a fragrance pervades the place. The priests who officiate in the cathedral spend the hours of leisure here, pacing in pairs up and down, as they smoke their cigarettes. Now and again, one notes the lover waiting for his fair one amid the fountains and the palms.
Once there were nineteen beautiful gateways leading into the Court of the Oranges, and these were uniform with the nineteen aisles. We enter by the Puerta de los Palmas, facing the Puerta del Perdon. The sumptuous Gate of Pardon at once attracts us. It is over twenty feet high, with the characteristic horseshoe arches and the elaborate Oriental ornamentation. But this is not the ancient gate; it dates from the Christian recapture of Cordova, and is constructed in imitation of the Arabian work. It is surmounted by a belfry. The upper part of the horseshoe arches is exceedingly ornate, and on either side are coats of arms. The structure is in the Estilo Sarraceno. There are massive doors, coated with copper, upon which are inscriptions. Above the door are poorly painted frescoes.
The Bell Tower erected in place of the old minaret of Abd-er-Rahman III. is not Moorish. It was designed by Hernan Ruiz, one of the Christian architects who planned the cathedral. This tower is interesting as a later monument, but it is not in harmony with the Mosque. It rises higher than the former minaret, is more pretentious, and is out of character with the surroundings. On the top is a figure of San Rafael.