That in the centre served as a vestibule to the sanctuary, and was the most remarkable for its proportions, its outlines, and its decorations. This part of the mosque has been preserved in its principal features to the present day. The edifice has lasted nine centuries, and there is no indication that it will not endure for nine centuries more.
Over the festooned arches, which intersect each other, rise seven light and graceful horse-shoe arches, which disappear into the south wall, thus closing the picture and terminating the lower body of the sumptuous vestibule. Above these double arches runs an impost, beautifully worked and very graceful, embracing and crowning the four façades, and dividing the cupola into two zones—an upper and a lower. On this impost rest beautiful columns in pairs, oversetting great bold semi-circular arches, arranged with such art that they seem to imitate the curves of the interlaced garlands of a choir of beautiful odalisques, as the arches do not go from each column to the corresponding one of the next couple, but leave the intervening pair open. In this way, as there are two pairs of columns supporting the impost in each façade, eight principal arches are formed in the space in two great quadrilaterals placed opposite each other, their springing stones crossing and forming eight points of a star. There is an octagonal ring in the centre with eight graceful pendants, as an embellishment to the capitals of the eight pairs of columns. A horseshoe arch from point to point, to which a tablet of alabaster is fitted, leaves an uncertain prospect of the vault of heaven, which shines upon the cupola and the profusion of rich mosaic work with which it is adorned.
Between the elegant arches, which appear rather to hang from the cupola than to support it, the marvellous façade of the “mihrab” appears in the background, which glistens in the rays of the setting sun like a piece of brocade loaded with jewels, and which must have been dazzling as a fairy palace when, in the month of Ramadhan, the fourteen hundred and fifty-four lights of the great lamp shone under this enamelled “half-orange.” This façade, in spite of its marvellous richness, does not show the smallest confusion in its ornamentation, each line is traced with the idea of giving greater beauty to the arch which forms the entrance to the sanctuary. It is composed of the arch with its spacious architrave and its smooth jambs with small columns, together with its “arraba” surrounded by Grecian frets, and a light series of arches without vacuums, upon which rest the imposts which divide the upper and lower bodies of the dome. But such is the profusion and splendour of the ornamentation of each of these parts that it is impossible to describe them. The keystones, the architrave, the circle drawn in squares, the panels, the trefoil arches and the tympana are incomparable, and the combination of Grecian frets with Persian and Byzantine ornaments and geometrical figures is as beautiful as it is bewildering. These last, moreover, do not preponderate as was the case later in the degenerate Mussulman ornamentation proper. Here the Grecian frets are the most important, being combined in a thousand different ways, the stems and leaves tracing the most graceful curves, and all uniting to form an elegant border, of the most capricious tracery. The whole of this ornamentation is of marble, delicately carved, now smooth and white, now covered with minute mosaic of various colours, and loaded with crystal and gold. The inscriptions seen here are also in gold, on a ground of crimson, or ultra-marine, alternating with the shining “sofeysafa.”
“Sofeysafa” is an obscure word, which Don Pascual de Gayangos believes to be a transposition of the Arabic
CORDOVA
THE CENTRAL NAVE OF THE MOSQUE—961-967.