The S.W. wall of the mosque, in the Rue de la Grande-Mosquée, which we now regain, is most in conformity with the original plan. Most noteworthy here are the first gateway-tower, near the N.W. angle, and the Bâb es-Sultân, the last gate, through which led the shortest way from the caliph’s palace to the maksûra (comp. p. [377]). The domes, now adorned with the Turkish crescent, still possess their girdle of battlements and have their old cornice of bricks placed crosswise.
The present Entrance Gateway (visitors knock) is one of the small middle gates beside the Bâb es-Sultân. We descend a few steps to the court (now below the level of the street), where the irregular plan of the building is most distinctly seen.
The *Court is bordered on the N.W. side by a single colonnade and on the other sides by double arcades, which on the S.E. side form the porch of the sanctuary. In contrast to the orange-court at Cordova (p. [70]), it is much larger than the sanctuary itself. The marble pavement is modern. The perforated stone in the centre of the court conducts the rain-water from the gutters on the flat roofs into a filtering-apparatus and into three Cisterns below. The old Court of Ablution (Ancienne Mida; comp. above), near the W. angle, and the rooms adjoining the minaret are now used as lumber-rooms.
The Minaret, 128 ft. high, an extremely massive tower in three stories, rises in the centre of the N.W. wall, and not in the central axis of the building as is usual. The substructures have been built of Roman stones and the doorway framed with antique decorative slabs. The square lowest story and narrower middle story are crowned with peculiar battlements with small embrasures. Above the three metal balls (p. [195]) of the present dome is perched the Turkish crescent.
The *Ascent of the Minaret (127 easy steps) should not be omitted. On the lower platform we note the muezzin’s hut (p. [180]). The upper platform commands a superb survey of the many-domed town, of the Barber’s Mosque (p. [378]), of the large cemeteries to the W., and of the great plain of Kairwan, bounded by Jebel Trozza and other distant hills.
In the centre of the porch of the sanctuary is the square Bâb el-Behou (‘pavilion-gate’) with a great horseshoe archway and pinnacled summit. The drum and dome, formerly resembling the dome of the mihrâb, were rebuilt in 1828. The timber ceiling of the adjoining arcades is now partly replaced by brick-vaulting.
The *Main Door of the sanctuary, in cedar-wood, also was renewed in 1828 by wood-carvers from Sfax (p. [380]). The wings are beautifully enriched with network, rosettes, and arabesques (p. [445]). Over the door are a frieze with an inscription and another adorned with mashrebîyeh or lattice-work, and above these is a pediment decorated with charming scroll-work. The side-doors, also in cedar-wood, and partly modern, have a simpler geometric ornamentation, resembling that of the maksûra screen (p. [377]).
The *Interior of the sanctuary, in the form of a so-called Egyptian cross (⟙), with a broad transept at the back, has a nave and sixteen aisles, with eight rows of arcades. In the axis of the Bâb el-Behou, above the intersection of the nave and transept, rises the dome of the mihrâb-chapel, in front of the mihrâb-recess. The timber ceilings of the aisles, dating from different centuries, still retain interesting traces of their old painting. The effect of the nave is marred by the new braces and the clumsy modern stucco-decoration of the upper walls. The candelabra are ancient, but of little artistic value. The old pavement has disappeared and so too have the tapestries once used for festivals. The somewhat colourless aspect of the interior is compensated by the beauty of the columns, which here, as well as in the court, merit careful study. The shafts, as at Cordova, are of surprisingly various materials: white and coloured marble, onyx, granite, porphyry, and variegated breccia. Besides the few Moorish capitals in the more modern parts of the mosque, we note Roman, early-Christian, Byzantine, and even Punic-Ionic forms. Owing to their unequal lengths some of the columns have been raised while others are partly buried in the earth.
The *Mihrâb Chapel, unfortunately thickly whitewashed, is specially noteworthy for its sumptuous decoration and the peculiar construction of its dome. The chief enrichment of the wall consists of *Fayence with gold lustre, the oldest mediæval relic of this art-industry, the origin of which seems to be indicated by the name of ‘tchini’ (China tiles) given to it by native writers. The two beautiful Byzantine columns which bear the archivolts of the mihrâb are said to have come from Carthage. Through the marble screen of the niche, now disfigured by painting, we obtain a glimpse at the ancient mihrâb of the time of Sidi Okba (p. [374]).
The **Mimbar, or Friday pulpit, unfortunately very tastelessly restored in 1907, adjoining the mihrâb-recess on the right, is one of the earliest and most beautiful creations of early-Moorish art. On the model of the Byzantine ivory carving, its rectangular sections are most charmingly enriched with a great variety of scroll-work and arabesques. The material is sycamore-wood.