| THE MOSQUE. DETAIL OF THE TRASTAMARA CHAPEL. | THE MOSQUE. CHAPEL OF TRASTAMARA, SOUTH SIDE. |
which belonged to the family of the Godois. Then followed the foundation of the Chapel of St. Nicholas, by a pious Archdeacon; and of the Chapels of St. Benedict, St. Vincent, and St. Giles, and that of Our Lady of the Snow.
It was not thought wise to make any great efforts to introduce the art of the West into a city which could not as yet be considered sure of not falling again into the hands of the infidels. In the year 1369 Don Enrique, the Fraticide, came to the throne of Castile. He desired to carry out the wishes of his father, and to give him a place of sepulchre worthy of his high renown. For this purpose he ordered a Royal Chapel to be erected in the cathedral at the back of the Grand Chapel in the Arab Tribune, which served as a sacristy. He decided to bury here his grandfather, Don Fernando X., whose body had been laid under the grand chapel by order of his Queen, Constanza. This fabric must have taken some considerable time, for the stucco, wood and tile work are really wonderful. Mohammedan art had undergone a complete transformation; the grandiose Arab-Byzantine style had been succeeded by the effeminate Moorish school, first practised by the Almoravides, and after by the Almohades; and the Moorish architects and decorators of Cordova could not remain uninfluenced by the taste which had become general through the artificers who had renovated the Alcazar at Seville, and who had embellished the Alhambra at Granada. Nothing was more unlike the architecture of the days of Hakam II. than that employed now in the construction of the Royal Chapel. Two parts are noticed—an upper and a lower. The Moorish architect who directed the work had windows with ornamented arches in the new style opened in the east and west sides, which were longer than the others. He ordered, too, that Saracen art, emancipated from the Byzantine traditions, should be stamped on the ornamentation of the four walls, and on the cupola that crowned them. These arches were given festoons with lobules, which boldly, though corruptly, hid the true object of the curves. They were also set in square compartments, forming many edges beautifully worked with hammer and chisel. The framings were crowned with beautiful little cornices of small interlaced and open-worked arches, and above them ran round all the four sides a wide facia of little pine-shaped domes, which imitated stalactites of crystallised gold, having a most surprising effect, and of a sort until then unknown in the most famous mosque of the West.
In the east and west walls, which were the longest of the rectangle, the arches with lobules, which could not be opened, were in relief; and resting on the light cornice were two tablets with lions. There were four of these lions—two on the western and two on the eastern facia, equi-distant from one another; and from each lion to that which faced him sprang a great arch, whose facing projected some feet over the lower zone, and from each lion to that by his side sprang another great arch, which did not project beyond the facing of the lower wall. These four upper arches, each one with twenty-one trefoil lobules, formed a perfect square, their four supports being at an equal distance, thanks to the ingenious method of cutting the longer sides, putting the lions perpendicularly over the great lower arches. Once this difficulty was overcome it was doubtless an easy matter to raise the cupola, which was to crown the fabric. The ancient dome must have been similar to that which has been discovered in the Chapel of Villaviciosa, but it must have seemed poor in the eyes of King Henry II., so accustomed to seeing the Moorish cupolas with stalactites; so they placed a cornice on the arches described above, and on this
CORDOVA