Chapter VI: Appendix: II

CORDOVA

The most elegant description of Cordova is that contained in the epistle of Ash-shakandi, a native of Shakandah, a town close to Cordova, on the southern bank of the Guadalquivir. He calls Cordova ‘the repository of science, the minaret of piety and devotion, the abode of magnificence, superiority, and elegance: neither Baghdad nor Damascus can compete with it. An idea of its worth can only be arrived at by comparing the city to a beautiful bride of whose dower it should form part. Cordova may be properly called the military camp of Andalus, the common _rendezvous_ of those splendid armies which, with the help of Allah, defeated at every encounter the worshippers of the Crucified. Its great Mosque, lighted with bronze lamps made from Christian bells, had its foundations formed of the materials of demolished churches brought to Cordova by Christian captives.’

During the reigns of the monarchs of Gothic descent, Cordova cannot be said to have been the capital of Andalus, for although it served as a place of temporary residence for some of their kings, it was not, properly speaking, the court of the empire. By the establishment of Islam within it, its importance increased; the city became the capital of the Mohammedan empire in Spain and the stronghold of the family of Merwan,[7] the two important cities of Seville and Toledo quickly acknowledging its pre-eminence.

Upon the coming of the Beni Omeyyah, its Sultans exalted Cordova above any city of Andalus, by reason of its convenient situation and delightful temperature. In course of time Cordova became, says El-Makkari, ‘the meeting-place of the learned from all countries, and owing to the power and splendour of the mighty dynasty that ruled over it, it contained more excellences than any other city on the face of the earth.’

There is a highly characteristic anecdote of the relative merits of Cordova and Seville, the refined society of the one city being devoted to literature, while that of the other was dedicated to music. ‘When a rich man dies at Seville,’ says a native writer, ‘and his heirs desire to sell his library, it is sent to Cordova for disposal; when, on the other hand, a musician dies at Cordova and his instruments are to be sold, the custom is to send them to Seville.’

A Mohammedan author of the twelfth century of our era, Al-hijárí, Abu Mohammed, wrote a description of Cordova in a volume called _Al-mishab_, ‘The Chatterer,’ in which he describes the glories of the city. ‘Cordova,’ says he, ‘was, during the reign of the Beni-Merwan, the cupola of Islam, the convocation of scholars, the court of the Sultans of the family of Omeyyah, and the residence of the most illustrious tribes of Yemen. Students from all parts of the world flocked thither at all times to learn the sciences of which Cordova was the most noble repository, and to derive knowledge from the mouths of the doctors and _ulemas_ who swarmed in it. Cordova is to Andalus what the head is to the body. Its river is one of the finest in the world, now gliding slowly through level lawns, or winding softly across emerald fields sprinkled with flowers, and serving it for robes; now flowing through thickly planted groves, where the song of birds resounds perpetually in the air, and now widening into a majestic stream to impart its waters to the numerous wheels constructed on its banks, communicating fresh vigour to the land.’

The extent of ancient Cordova has been differently stated, owing, no doubt, to the rapid increase of its population and the expansion of the buildings under the Sultans of the dynasty of Merwan on the one hand, and on the other, to the calamities and disasters by which it was afflicted under the last sovereigns of that house. Cordova is further described by Mohammedan writers as a city which never ceased augmenting in size, and increasing in importance from the time of its subjugation by the Moslems until A.D. 1009-10, when, civil war breaking out within it, the capital fell from its ancient splendour, gradually decaying and losing its former magnificence until its final destruction A.D. 1236, when it fell into the hands of the Christians.

VIEW OF THE CITY AND THE BRIDGE SOUTH OF THE GUADALQUIVIR.]

THE BRIDGE.]

VIEW OF MOSQUE AND BRIDGE.]

THE IRON MILL ON THE GUADALQUIVIR.]

PROMENADE OF “GRAND CAPITAINE.”]

MARKET STREET OR CALLE DE LA FERIA.]

PLAZA DEL TRIUNFO AND EXTERIOR OF THE MOSQUE.]

ENTRANCE GATE OF THE CITY, THE COLUMN OF TRIUMPH, AND THE MOSQUE FROM THE BRIDGE.]

THE COLUMN OF TRIUMPH.]

ANCIENT ARAB TOWER, NOW THE CHURCH OF ST NICHOLAS DE LA VILLA.]

THE TOWER OF SAN NICOLAS.]

TOWER OF THE CATHEDRAL AND PATIO DE LOS NARANJOS.]

VIEW OF THE PATIO DE LOS NARANJOS.]

THE TOWER OF THE CATHEDRAL.]

ENTRANCE TO THE CITY FROM THE BRIDGE.]

PUBLIC FOUNTAIN IN THE PATIO DE LOS NARANJOS.]

WOMEN AT THE SPRING.]

SPRING IN THE PATIO DE LOS NARANJOS.]

PEASANT WITH HIS DONKEY.]

A WATER-CARRIER.]

THE POOR MAN’S MEAL.]

MULETEERS.]

A GARDENER.]

GIRL WITH A GUITAR.]

A ROOM IN THE PROVINCIAL MUSEUM.

VIEW OF THE ROMAN AND VISIGOTH SECTION.]

A ROOM IN THE PROVINCIAL MUSEUM.

VIEW OF THE ARAB SECTION.]

DOOR OF THE HOUSE OF THE INNOCENTS.]

THE DOOR OF DON JERÓNIMO PÁEZ.]

THE DOOR OF THE FOUNDLING HOSPITAL.]

THE TOWER OF CARRAHOL.]

PORCH OF ST PAUL.]

ANCIENT ARAB WALLS.]

MOSAIC OF THE FOUR SEASONS, IN THE HOUSE OF S.S. LUQUE, PLAZA DE LA COMPANIA.]

ARCHITECTURAL PARTS OF THE CATHOLIC BASILICAS.]

CAPITALS AND FRAGMENTS OF ORNAMENTATION IN THE MOSQUE.]

ARCHITECTURAL PARTS OF THE CATHOLIC BASILICAS AND OTHER CONSTRUCTIONS.]

CAPITALS OF THE CATHOLIC BASILICAS PRESERVED IN THE MOSQUE, NOW THE CATHEDRAL.]

FRAGMENTS OF THE CATHOLIC BASILICAS PRESERVED IN THE MOSQUE, NOW THE CATHEDRAL.]

GENERAL VIEW OF THE CHOIR AND HIGH ALTAR.]

PULPIT AND STEPS OF THE HIGH ALTAR.]

CHOIR STALLS IN THE MOSQUE OR CATHEDRAL.]

LEFT SIDE OF THE CHOIR STALLS.]

GENERAL VIEW OF THE CHOIR IN THE MOSQUE OR CATHEDRAL.]

THE BISHOP’S STALL IN THE CHOIR OF THE MOSQUE OR CATHEDRAL.]

CENTRAL NAVE IN THE CATHEDRAL.]

CENTRAL NAVE IN THE CATHEDRAL.]

CENTRAL NAVE IN THE CATHEDRAL.]

PLAN OF THE MOSQUE IN THE TIME OF THE ARABS.]

II.

PLAN OF THE MOSQUE AT THE PRESENT TIME.]

THE BISHOP’S GATE.]

ENTRANCE TO THE MOSQUE, CALLED THE GATE OF CAMÓNIGOS.]

THE TOWER OF MALA MUERTE.]

THE CATHEDRAL. VIEW OF THE TRANSVERSE NAVE.]

NORTH ANGLE OF THE CHAPEL OF VILLAVICIOSA.]

THE CENTRAL NAVE OF THE MOSQUE.]

THE GATE OF PARDON.]

THE GATE OF PARDON.]

THE GATE OF PARDON.]

THE GATE OF PARDON.]

KNOCKER ON THE GATE OF PARDON.]

PRINCIPAL NAVE AND MIHRAB OF THE MOSQUE.]

ENTRANCE TO THE CHAPEL OF THE MIHRAB.]

INTERIOR VIEW OF THE MOSQUE (FROM A DRAWING).]

GENERAL VIEW OF THE INTERIOR OF THE MOSQUE.]

INTERIOR OF THE MOSQUE.]

INTERIOR OF THE CATHEDRAL.]

INTERIOR OF THE MOSQUE.]

INTERIOR OF THE CATHEDRAL.]

GENERAL VIEW OF THE CHAPEL OF VILLAVICIOSA.]

INTERIOR OF THE MOSQUE.]

INTERIOR OF THE MOSQUE.]

LATERAL DOOR OF THE MOSQUE.]

THE VILLAVICIOSA CHAPEL IN THE MOSQUE.]

EXTERIOR OF THE MOSQUE.]

THE MOSQUE.

PORTAL ON THE NORTH SIDE, MOORISH STYLE, BUILT UNDER HAKEM III., 988-1001.]

CHAPEL OF TRASTAMARA, SOUTH SIDE.]

GENERAL VIEW OF THE CHAPEL OF THE MIHRAB.]

FAÇADE AND GATE OF ALMANZOR.]

THE MOSQUE.

ELEVATION OF THE GATE OF THE SANCTUARY OF THE KORAN.]

GATE CORRESPONDING TO THE BUILDING OF ALHAKEM II.]

PORTAL OF THE MIHRAB.]

ARCADE OF THE ENTRANCE TO THE VESTIBULE OF THE MIHRAB.]

ARAB TRIBUNAL (NOW THE VILLAVICIOSA CHAPEL), LEFT SIDE.]

RIGHT LATERAL PORTAL, WITHIN THE PRECINCT OF THE MAKSURRAH.]

DETAIL OF THE HALL OF CHOCOLATE.]

EXTERIOR OF THE CHAPEL OF THE MIHRAB.]

DETAIL. ARCHES OF THE MIHRAB.]

DETAIL IN THE CHAPEL OF THE MAKSURRAH.]

MOSAIC DECORATION OF THE SANCTUARY.]

GENERAL VIEW OF THE INTERIOR OF THE CHAPEL OF THE MAKSURRAH AND ST FERDINAND.]

DETAIL NEAR THE MIHRAB.]

DETAIL OF THE INTERIOR OF THE MIHRAB.]

VERTICAL SECTION OF THE DOME AND CUPOLA OF THE MIHRAB.]

DETAIL OF THE TRASTAMARA CHAPEL.]

DETAIL OF THE HIGHER PART AND ROOF OF THE CHAPEL OF ST FERDINAND.]

SECTIONS OF THE MOSQUE.]

SECTIONS OF THE MOSQUE AND CATHEDRAL.]

DETAIL IN THE CHAPEL OF TRASTAMARA, SOUTH SIDE.]

DETAIL IN THE ANGLE OF THE ARCH OF THE MIHRAB, LEFT SIDE.]

DETAIL IN THE ANGLE OF THE ARCH OF THE MIHRAB, RIGHT SIDE.]

DETAIL OF THE GATE OF THE MOSQUE.]

KUFIC INSCRIPTION OF THE TIME OF THE KHALIFATE, FOUND IN AN EXCAVATION.]

THE MOSQUE. KUFIC INSCRIPTION IN THE PALACE APPROPRIATED TO THE PERFORMANCE OF ABLUTIONS.]

ARABIAN INSCRIPTIONS.]

ARABIAN INSCRIPTIONS.]

BASEMENT PANEL OF THE FAÇADE OF THE MIHRAB.]

MARBLE SOCLE IN THE MIHRAB.]

EXTERIOR OF THE CHAPEL OF SAN PEDRO, NORTH SIDE, IN THE MOSQUE.]

A GATE ON ONE OF THE LATERAL SIDES.]

A KUFIC INSCRIPTION ON THE ADDITIONS MADE TO THE MOSQUE, BY ORDER OF THE KHALIF AL-HAKEM.]

A KUFIC INSCRIPTION ON THE ADDITIONS MADE TO THE MOSQUE, BY ORDER OF THE KHALIF AL-HAKEM.]

CAPITALS. ENTRANCE ARCH.]

DETAIL OF A FRIEZE.]

DETAIL OF A CORNICE.]

DETAIL OF A CORNICE.]

EASTERN SIDE OF THE EXTERIOR OF THE MOSQUE, AND DETAIL.]

PLAN OF THE ARCH AND CUPOLA OF THE MIHRAB.]

DETAIL OF THE PORTALS OF THE MAKSURRAH.]

SECTION AND DETAILS OF THE MIHRAB OF THE MOSQUE.]

DETAILS OF THE CUPOLA OF THE VESTIBULE OF THE MIHRAB.]

THE GATE OF PARDON.

THE BISHOP’S GATE.]

THE MOSQUE.

DETAIL OF THE TRASTAMARA CHAPEL.

THE MOSQUE.

THE GATE OF THE SULTAN.]

THE MOSQUE.

INTERIOR OF THE MIHRAB.

THE MOSQUE.

ARAB ARCADE ABOVE THE FIRST MIHRAB.]

INTERIOR OF THE MOSQUE.]

INTERIOR OF THE CHAPEL OF SAN FERNANDO.]

GATE OF THE CATHEDRAL.]

PRINCIPAL ENTRANCE TO THE MOSQUE.]

THE MOSQUE.

TRASTAMARA CHAPEL, SOUTH SIDE.]

EASTERN FAÇADE OF THE MOSQUE.]

PATIO DE LOS NARANJOS.]

CALLE DEL CARDINAL HERRERO.]

TOWER OF THE CATHEDRAL.]

THE MOSQUE. PULPIT OF THE ANGEL.]

THE MOSQUE. PULPIT OF THE BULL.]

CATHEDRAL. CHOIR STALLS.]

CATHEDRAL. PRINCIPAL NAVE.]

GATE OF ST CATHARINE.]

ALTAR OF SAN RAFAEL.]

THE HOUSE OF PÁEZ.]

GENERAL VIEW OF THE ROMAN BRIDGE AND CALAHORRA OVER THE GUADALQUIVIR, TAKEN FROM THE ARAB MILL.]

CALAHORRA CASTLE.]

GENERAL VIEW OF THE ROMAN CASTLE OF THE CALAHORRA.]

ENTRANCE GATE TO THE ROMAN BRIDGE.]

ALMODÓVAR GATE.]

THE MILLS.]

GENERAL VIEW AND ROMAN BRIDGE OVER THE GUADALQUIVIR.]

GRATING AND COURT OF A PRIVATE HOUSE.]

AVENUE OF THE GRAND CAPTAIN.]

DISTRICT AND CHURCH OF SAN LORENZO.]

GENERAL VIEW OF THE BANK AND THE ROMAN BRIDGE OVER THE GUADALQUIVIR.]

INTERIOR OF THE PLAZA DE TOROS.]

HORTICULTURAL GARDENS.]

THE BANK OF THE GUADALQUIVIR FROM THE BRIDGE.]

GENERAL VIEW OF CORDOVA.]

COURTYARD OF AN INN.]

A STREET AND COUNTRY TYPES.]

A STREET AND COUNTRY TYPES.]

ANCIENT RECEPTACLE FOR WATER OF MEDINA AZ-ZAHIRA, 10TH CENTURY.]

CORDOVA

_Specially drawn for The Spanish Series_]

FOOTNOTES:

[1] It is said that many of the pillars were brought from the plunder of Narbonne, the French town on the Mediterranean.

[2] The new Christian Church was dedicated to SS. Faustus and Marcial. The priests quitted their Cathedral peacefully, bearing in procession the relics and images of the saints.

[3] _The maksurrah_ is a screen or enclosure surrounding the _mih-rab_, with a sort of throne or platform where the Sultan sits, elevated above the level of the Mosque. The whole of that space which was taken up by the _maksurrah_ is now occupied by the chapel of St. Estevan.

[4] The _mih-rab_ is a recess having a cavity within one of its walls, wherein stood that copy of the Koran held in highest veneration. The cavity also marked that point of the compass towards which stands the _Ka’bah_, the object of veneration at Mecca.

[5] The four columns are yet in place in what is now the chapel of St. Peter. Behind the mih-rab at Cordova was a room where other copies of the Koran were kept. Both the sanctuary, and the mih-rab room, now form part of St. Peter’s Chapel, which the inhabitants vulgarly call La Capilla del Zancarron--the chapel of the shin-bone--from a popular belief that the shin-bone of the Prophet was there preserved.

[6] _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-walid was that the Emperor should provide a certain quantity of _foseyfasa_ or enamelled work for the great Mosque at Damascus. Idrísí, in his description of the Mosque of Cordova, says that the enamel which covered the walls of the _mih-rab_ came from Constantinople.

[7] Merwan, the last Khalif at Damascus of the Beni Omeyyah dynasty, was the ancestor of Abd-er-Rahman I.