Part 5

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

word Foseyfasa,[A] signifying enamel work of exceptional brilliancy, laid down by Greek workmen whom Abd-er-Rahman had brought to Cordova for the task.

[A] _Foseyfasa._ Gayangos tells us that the word is not in the Dictionaries, but that, according to an old Arabian writer, it is a substance of glass and small pebbles, crushed and baked together, uniting, with great variety of colour, great brilliancy, and beauty; it is sometimes mixed with silver and gold. One of the conditions of peace granted to the Emperor of Constantinople by the Khalif, Al-waléd, was that the Emperor should provide a certain quantity of _foseyfasa_, or enamelled work, for the great mosque at Damascus. Idrisi, in his description of the mosque of Cordova, says that the enamel which covered the walls of the “mihrab,” came from Constantinople.

Two columns are built into the jamb of the entrance arch to the sanctuary--one of black marble, the other of jasper, with lavishly carved capitals. If his blind enthusiasm did not deceive El-Makkari, the four columns were of green jasper and lapis-lazuli, two of each. An impost rests upon them as a cornice, and from this the arch springs; and on the impost an inscription in golden characters upon a crimson ground is written, which has the following meaning:

“In the name of God, clement and merciful, let us give praise to Him, who directed us to this, for we could not have directed ourselves if we had not been directed by God, for which purpose the deputies of our Lord came with the truth. The priest Al-mostaner Billah Abdallah Al-Hakam, Prince of the Faithful--may God be faithful to him--ordered the president and prefect of his court, Giafar ben Abd-er-Rahman--may God be pleased with him--to add these two columns, since he laid the foundations in the holy fear of God, and with His good pleasure. This work was concluded in the month of Dhilhagia of the year 354 of the Hegirah.”

From this inscription it would seem that two of the columns supporting the arch of “sofeysafa” were placed there by order of Hakam II., and that the others belonged to the old “mihrab,” which had been demolished in order to lengthen the mosque; but no one is capable of saying to-day whether the black marble columns, or the jasper, were those added by the order of the magnificent khalif; and whether the inestimable gift which was deemed worthy of being commemorated in letters of gold was of lapis-lazuli or not. “God alone knows!”

The sanctuary is a small heptagonal space, with a pavement of white marble, a socle formed by seven great slabs of the same, and a dome, also of marble, shaped like a shell and made of a single piece, edged with an elegant moulding. The seven sides of the heptagon are decorated with exquisite trefoiled arches, supported by marble columns, with gilt capitals of delicate workmanship; the columns resting on a cornice, below whose modules runs a fascia, or fillet, of gilded characters carved in the marble of the slabs, which form the socle, or sub-basement.

Within this sanctuary was kept the famous “nimbar” of Hakam II., which was a sort of pulpit, according to the Arab historian, unequalled in the world, either for its materials or its workmanship. It was of ivory and precious woods--ebony, red and yellow sandal, Indian aloe, &c.--and the cost of it was 35,705 dineros and three adirmames. It had ten steps, and was said to consist of 37,000 pieces of wood joined by gold and silver nails, and incrusted with precious stones. It took nine years to build, eight artificers working at it each day. This pulpit, which must have been of mosaic of wood, jewels and metals of price, was reserved for the khalif, and in it was deposited also the chief object of veneration of all the Mohammedans of Andalusia, a copy of the Koran, supposed to have been written by Othman, and still stained with his blood. This copy was kept in a box of golden tissue studded with pearls and rubies, and covered with a case of richest crimson silk, and was placed on a desk or lectern, of aloe wood with golden nails. Its weight was so extraordinary, that two men could scarcely

carry it. It was placed in the pulpit in order that the Imam might read in it during the “azala;” and when the ceremony was concluded, it was carried to another place, where it remained, carefully guarded, with the gold and silver vases destined for the great celebration of Ramadhan.

The chronicler, Ambrosio de Morales, says that the “nimbar” was a sort of chariot on four wheels, and that it had but seven steps. It was to be seen in the cathedral of Cordova as late as the middle of the sixteenth century, when it was dismembered, and its materials employed in the construction of a Christian altar.

The place, which from the slight indications of Edrisi appears to have served as treasure-room, was a sort of chapel, which is situated to-day not far from the site of the ancient “mihrab,” to the north of the present “maksurrah.” In this way it can easily be supposed that the noblest apartment of the mosque was completely closed to the people on the north and south sides; and, being occupied by the principal personages of the court, it would have been difficult for any irreverence to have been shown to the Imam or to the venerated “Mushaf”--Koran. The two “maksurrahs” remained, the one facing the other, both occupying exactly the same space; that is, at least, from east to west, supposing that they cut the three centre naves of the eleven which are in the mosque. Both these “maksurrahs,” or screens, have disappeared; and at the present time we cannot form the slightest idea as to their design. Almost the only thing which has remained intact of that time is the sumptuous space of the three chapels occupied by the “maksurrah” of Hakam; and of the spaces occupied by the old “maksurrahs,” only two disfigured chapels exist--that of the chief nave, and that of the next nave to the east. The latter is divided into two parts by a platform some feet above the floor of the mosque. In the upper portion the “Alicama” or preliminary for the prayer was made; and in the lower part, which still has the form of an underground chapel, the treasure was kept. The centre chapel, the present Chapel of Villaviciosa, was reserved for the khalif when he did not act as Imam; and in the west chapel, which exists no longer, was the seat of the Cadi of the Aljama. No trace of the original interior decoration of these chapels remains at the present day, and externally, only the arches facing the “mihrab,” and which are similar to those of the façade of the vestibule, are left.

When everything had been completed internally to the satisfaction of Hakam, it occurred to him that the fountains in the Court of Ablutions did not harmonise with the grandeur of the mosque; he therefore commanded that they should be replaced by four splendid founts, or troughs, each cut out of a single piece of marble--two for the women in the eastern part, and two for the men in the west. It was his wish that these basins should be of magnificent proportions, and made from the same quarry. The work took much time, engaged many people, and necessitated the expenditure of a great deal of money; but it was happily executed, and the troughs were brought to their destination by a sloping way, specially constructed for the purpose, on great carts, each drawn by seventy stout oxen. The water, which was brought by the aqueducts of Abd-er-Rahman II., and was stored in a great reservoir covered with marble, flowed night and day; and after supplying the wants of the mosque, was carried off by three conduits to feed as many fountains for public use in the north, east, and west of the city.

The great Vizier, Almanzor, considerably enlarged the mosque; many Christians, loaded with chains, being employed amongst the workmen. The eastern wall was thrown

down, and the foundations of a new wall were laid one hundred and eighty feet from the old one, throughout the entire length from north to south. In the covered part of the building eight great naves were added, all of equal size, and having the same number of arches as those already existing; so that the thirty-three minor naves, which cut the principal naves at right angles, were lengthened one hundred and eighty feet, running from east to west. The new part formed thirty-five transverse naves, where there had formerly been only thirty-three, because the wing, with the residences which fell to the east of the “mihrab” which was not lengthened, occupied the space of the two extra naves. The prolongation of the minor naves was not carried out with the slavish and monotonous uniformity of modern days. The Arab architects did not understand symmetry as we do to-day, and they satisfied themselves with producing unity by means of variety, without seeking a forced correspondence of similar parts. In the part added by Almanzor it was considered useless to give the same dimensions to the buttresses of the north wall as the primitive wall possessed, and consequently a space of six feet in length was gained from the principal naves at the north side. But as this extra width could not be given to the first of the lesser naves, as the height of the columns would not allow of it, the architect doubtless thought that instead of dividing up this small excess equally among the thirty-three arches in the length from north to south, it would be preferable and more effective to preserve the first three or four naves in line, adding a nave in the space gained by the diminution in the bulk of the buttresses, and by enlarging the succeeding naves wherever it seemed most convenient. As a result of this, the first transverse nave of the lengthened part, on account of the great narrowness of its intercolumniation, was not able to preserve the full span of its arches. It was necessary, therefore, to bring the latter nearer together and to break their curve, in order to keep the desired height, and thus probably for the first time, Pedro de Madrazo considers, was seen in the edifices of Arab Spain, the pointed arch which was destined to totally change the physiognomy of monumental art in the Middle Ages.

The arch, broken in this manner at the culminating point of its curve, presently adopted in this small nave all the varieties of decoration to which it was susceptible. Here in effect, in this small space of barely seven feet wide and one hundred and eighty-five long, architecture exhausted at one time, and at the first attempt, all the shapes of arches, which were to be employed in the four following centuries; a circumstance which was quite fortuitous. It was not the intention to dissimulate the enlargement of which we are speaking; on the contrary, it was decided to signalise it in an unmistakable manner, for which purpose a row of stout pillars was raised, where the old east wall stood, and where at present is the dividing line between the eleventh and twelfth greater naves, the pillars of which were suitably united to each other by great arches, springing from beautiful columns in pairs, built into the pillars. The old classical art would never have confided such wide spaces to supports so delicate as are these columns, which in couples send the bold festooned arches, which serve as an opening to the edifice of Almanzor, across to the opposite pair. But the architects of the time of Abd-er-Rahman I. and of Hakam II. had already successfully attempted a similar feat in the grand arcade of the inner façade, which looks on the Court, and in the strengthening arcade which divides the primitive mosque from its prolongation to the south, so there was no reason to fear its repetition. To-day we pass, with a certain respect,

under these bold arches of eight metres elevation, and six, seven, and even eight metres in width, when we consider that they rest on columns of some three metres high, including their capitals; and only the stoutness of the pillars into which these graceful pairs are built assures us that they will not fall to the ground, wearied with such a supernatural effort.

For the greater solidity of the wide edifice, added by Almanzor, a line of great pillars and arches, which marked the southern limit of the original mosque, was lengthened as far as the eastern wall, crossing at right angles the strengthening arcade already mentioned stretching from north to south; so that the actual Aljama was divided into four unequal parts, separated from each other, probably, by wooden screens and partitions. The part added by Hakam II., at whose extremities rose the old and the new “maksurrah,” was called “The Noble Apartment,” and was reserved for the nobility and the personages of the Court, the portion close to the “mihrab” being occupied by the ulema, alkatibes, almocries, and other ministers of the temple, and the Imam. The three remaining parts were for the people, and most likely the sexes were divided, for it is certain, from the assurances of an historian cited by Ahmed El-Makkari, that there were two doors inside the naves leading to the women’s part.

The art of the decorations of Almanzor’s prolongation is not particularly attractive, the arches seem to be copied from those of the old door, and the only circumstance worthy of mention is that all the capitals of the columns are equal, and of the same form, in contrast with the great variety and richness of the capitals in the primitive mosque, and in the additions of Hakam II. The delicate and uniform construction of the mighty “hagib” may be mentioned as a purely archæological item, and also that the names of the artificers who made them are frequently to be seen in the foundations and shafts of the columns: _e.g._, Mondair, Mostauz, Motobarack, Fayr, Masud, Tasvir, Nassar, Kabir, Amin, Jalem-al-Amery, Hachchi, Tsamil, Bekr, Casim.

With the part added by Almanzor, the mosque is said to have formed a great rectangular quadrilateral 742 feet long from north to south, and 472 feet wide from east to west, enclosed by four great battlemented walls, fortified with square watch-towers, varying in height. The south wall, which reached a formidable height on account of the declivity of the ground, was adorned with nineteen towers, including those flanking it at both angles, which were more spacious and common to the two walls of east and west. The western wall had fourteen towers, and the north five, including the majestic minaret over the principal door; and, finally, the eastern wall was fortified by ten towers, all corresponding to the part which had to bear the pressure of the naves, and the wall of the Court at that side had no towers at all. The greater number of these towers remain, and the wide old walls also exist.

There were twelve outer gates to the mosque, ten leading into the edifice, and twenty-one interior doors, without counting those of the dependencies to the temple and that of the khalif’s private passage, nineteen in the façade of the courtyard, and two which led to the women’s part of the building. All the outer doors were for the most part rectangular, formed by arched lintels set into ornamented horseshoe arches, their keystones were either white, or of alternate colours, the white being richly decorated with stucco ornaments in relief, and the coloured with beautiful mosaic of red and yellow brick, cut into tiny pieces. The horseshoe arch is set in a beautiful frame,

richly ornamented as are the tympana between the arch and the lintel, the facias and the little windows of perforated alabaster, which, now enclosed in arches resting on little marble pillars and grouped in graceful pairs, flank the door. Some of these have projecting cornices forming a parapet with small dentalated towers, which give the sacred building the appearance of a fortress, and recall the warlike origin of the Mohammedan religion. All the outer gates have inscriptions, with invocations and verses taken from the Koran.

Hakam II. had an apartment constructed in the western part of the temple, which was to serve for the distribution of alms, and here any poor wanderer, who happened to be in the city without protection or means of subsistence, could obtain the wherewithal to continue his journey. For this purpose the khalif endowed the establishment in a splendid manner. It was not exactly a hostel, as its space was too limited; and, besides, Hakam had already established other places of lodging for poor travellers outside the mosque, one of these being quite near this “Dar-as-asdaca,” or “Alms Chamber.” Poor students, too, were looked after, and received a daily meal, and even small sums of money. The wise men received annual pensions from the treasury, according to their merit and personal circumstances.

The Alms Chamber was, properly speaking, only intended for the distribution of alms to the poor. Its beautiful door, to-day blocked up, can still be seen, both inside and out, in the wall of the mosque, and, according to El-Makkari, it was the most beautiful of the western side. It is no longer possible to form an exact idea of the aspect of the chamber as it was when Hakam II. completed its decoration. He covered it with gilded and painted stucco work, which turned its walls into beautiful filigree, and to-day this apartment is half forgotten, after having served as a vestibule to the first Christian cathedral of Cordova. No one would think that this place, beyond St. Michael’s postern, and separated from the body of the building by a wretched partition and a door of pine-wood, is the ancient “Dar-as-asdaca.” For many years it was used as a Chapter Hall, and the archives of the extinct music-school, with its choir books, were kept here.

The actual dimensions of the mosque varied at different periods, and are difficult to establish. One authority says, that in length from north to south the mosque measured six hundred and forty-two feet, in width four hundred and sixty-two feet. Mr. Waring, in his _Notes of an Architect in Spain_, describes the mosque as an oblong of three hundred and ninety-four feet by three hundred and sixty feet. The famous Orange Court is in length two hundred and twenty feet, and, being within the boundary walls of the mosque, it is probably included in the former measurement.

It is also impossible to fix, with any degree of certainty, the number of columns contained in the mosque during the time of Mohammedan supremacy. Ambrosio de Morales, and the Infante Don Juan Manuel, both of whom described the mosque before the columns were reduced in number by the alterations to which the building has been subjected, estimate the figures at one thousand and twelve, but it is only too certain that when the mosque was converted into a Christian church very many were removed to make room for altars and chapels.

No less than one hundred columns were comprised within the “maksurrah,” which was further provided with three doors of exquisite workmanship, one of which was

covered with plates of pure gold, as were the walls of the “mihrab.” The floor of the “maksurrah,” it is said, was paved with silver, and the pavements adjacent to it were covered with “sofeysafa.”