IV THE BUILDING OF THE MOSQUE

When Abd-er-Rahman I. seized upon the citadel of the Gothic Christian kings, he found the Cordovese split up into various sects, such as the Gnostics, Priscillianists, Donatists, and Luciferians. These cults were, however, united in their detestation of the new creed of the East, which the victors sought to impose upon them. It is quite clear from the records of the more impartial Spanish historians, that the Sultan was a man of tolerant mould and a respecter of justice. His ambition was to erect a temple, which would rival in magnificence those of Baghdad, Jerusalem, and Damascus, and approach in sanctity to the fane of Mecca itself.

The Christian church in Cordova stood upon the site of the former Roman religious edifice dedicated to Janus, and upon this situation Abd-er-Rahman desired to rear his great mosque. Autocrat though he was, the monarch strove to maintain the conditions upon which the inhabitants had surrendered. He might have broken faith, and annexed the Christian building and the ground upon which it stood. But he honourably offered to buy the church and the plot from the conquered people. The negotiations of purchase were placed in the hands of the Sultan’s favourite secretary, Umeya Ibn Yezid.

At first the Christians refused to sell their cherished basilica, which had been divided into a temple of the faith of Christ and a fane for the worship of Allah. Here, in separate portions of the building, the conquerors and the conquered murmured their prayers and repeated their praises to their deities. How the Cordovese were induced to relinquish the church cannot be explained by any historical evidence that we are able to obtain from the writings of Arabians and Spaniards. Some authors have suggested that the Christians of Cordova were disheartened by adversity and the assaults of Islam upon their creed, and that they yielded to the suasion and counsels of Umeya Ibn Yezid, and sold their tabernacle to the invaders. At any rate it is manifest that Abd-er-Rahman won in the end, and that he was able to forward his project without showing violence to the natives of Cordova.

No doubt the Christians preferred to worship in their own buildings rather than to share the basilica with the infidels, and this preference may have influenced their spiritual leaders in meeting the request of the sultan and his agent. Under the terms of transference, the Cordovese were permitted to reconstruct the edifice formerly dedicated to St. Faustus, St. Januarius, and St. Marcellus, three martyrs whom they deeply revered. Immediately upon the conveyance of the church and its site to Abd-er-Rahman, the work of erecting the gorgeous mosque was begun with much enthusiasm and at the expenditure of huge sums of money. The Khalif was rich. Besides the treasure wrested from the Goths during the wars, he extracted a tithe upon the produce of the land and on manufactures. A tax was also laid upon every Christian and Jew in Andalusia. Beyond this, the Moorish kings were greatly enriched by the acquisition of the valuable mines of Spain, the quarries of marble, and other sources of wealth. From these revenues Abd-er-Rahman and his successors, Hisham, Abd-er-Rahman II., the greatest of the dynasty and the third of the line—and lastly, the extravagant Al-manzor—lavished heavy sums upon the designing, construction, and costly adornment of the Mosque.

The power of the first Khalif of Cordova was supreme and undisputed. He was the sole spiritual and temporal head of the people, ‘the Commander of the Faithful.’ Subservient to him were the walis who ruled in the provinces. Abd-er-Rahman’s despotism made upon the whole for charity, tolerance, and justice. The accounts of his persecutions have been coloured by pious historians, and bear the stamp of a natural hostility to the conqueror and his religion. One or two of the more accurate Spanish writers assert that, at the most, only forty persons were martyred in Cordova under the Omeyyad sway; and, according to Morales, these victims sought persecution.

To court sufferings at the hands of the Moors was deemed a noble virtue in the breast of the devout Christians. We may recall the story of Santa Teresa of Avila, who, as a child, wandered from the city with her little brother to seek persecution in the country of the infidels. Whatever may be charged against the Khalifs of the family of Omeyya, it cannot be asserted that their policy after the conquest was one of tyrannous subjugation. They undoubtedly levied taxes and imposts upon the Goths, and confiscated their lands, after a campaign of destruction and aggression; but as victors they displayed magnanimity, and sought to heal the wounded spirit of the vanquished.

The attitude of Abd-er-Rahman I. towards the Christian population of Cordova was, therefore, clement and conciliatory. Under his sovereignty there dawned an age of prosperity and advancement. The work of building the resplendent Mezquita employed thousands of artisans and labourers. This vast undertaking led to the development of all the resources of the district. Durable stone and beautifully veined marbles were quarried from the Sierra Morena and the surrounding regions of the city. Metals of various kinds were dug from the soil, and factories sprang up in Cordova amid the stir and bustle of an awakened industrial energy. A famous Syrian architect made the plans for the Mosque. Leaving his suburban dwelling, the Khalif came to reside in the city, so that he might personally superintend the operations, and offer proposals for the improvement of the designs. We are told that Abd-er-Rahman moved about among the workers, directing them during several hours of every day. The monarch was growing old. It was the longing of his heart to witness the final achievement of his great scheme before death overtook him.

In planning the Mosque the architects incorporated a number of Roman columns with choice capitals. Some of the columns were already in the Gothic structure; others were sent from various quarters of Spain as presents from the governors of provinces. Ivory, jasper, porphyry, gold, silver, copper, and brass were used in the decorations. Marvellous mosaics and azulejos were designed. Panels of scented woods were fastened with nails of pure gold, and the red marble columns were said to be the work of God. The primitive part of the building, reared under the direction of Abd-er-Rahman I., was that bordering the Court of Oranges. Later, the immense temple embodied all the styles of Morisco architecture in one noble composition.

The first Khalif of Cordova did not survive to witness the completion of the Mosque. He died in the Alcazar long before the work was finished, and committed the task to his son Hisham. The prince carried on the work with zealous devotion. Upon his father’s death in 788, the building covered only a small part of the ground now occupied by the Mosque and its later additions. Hisham I. built the tower for the muezzin, and the fretted gallery for the women worshippers, and added much to the Zeca, or House of Purification, erected by Abd-er-Rahman.

The Court of Ablutions was laid out by the first Khalif, and occupied the ground of the present Court of Oranges. In constructing the Mosque, the founders adapted the basilica form of building to the new worship. During the Omeyyad dynasty the original building was constantly enlarged and improved, and fresh decorations were added up to the time of Almanzor. Each Khalif vied with his predecessor in beautifying the temple. The pristine building was finished ten years after the planning under Abd-er-Rahman I., that is, during the reign of Hisham I., who conducted the labour with the utmost expedition. Marbles of spotless white were chosen for the innumerable columns. Arrazi, an Arab writer, speaks of the valuable wine-coloured marble, obtained from the mountains of the district, which was much used in embellishing the naves of the Mosques of Cordova and Ez-Zahra.

The solemnity and beauty of the ceremonies in the House of Purification can only be imagined. Every day saw the celebration of the tazamein, or purification of the devout, before entering the holy structure, and six times daily the alicama, or call to prayer, was shouted by the muezzin from the summit of the minaret. No shoes were permitted to defile the sanctuary; the worshippers entered barefooted. From its sacred shadow all Jews were excluded, and restrictions guarded the approach of women, except the privileged royal brides.

The interior glittered with gold, silver, precious stones, mosaics, and hundreds of lamps of brass. By the side of the priest stood a mighty wax candle, and the scent of the burning aloes, ambergris, and perfumed oils in the lanterns drifted through the tangled arches of the long naves. Some of the brass lamps were made out of bells taken from Christian churches. The pulpit was seven years in the making. It was of ivory, ebony, sandal, aloe, and citron wood, with nails of gold and silver. Eight artists lavished their skill upon the designing and adorning of this pulpit. In the wondrous mih-rab the walls were of pure gold. A copy of the Koran in a gold case, set with pearls and rubies, was kept in the pulpit. It was taken away by Abu-Mohammed on one of his campaigns, and was finally lost to the faithful.

The building of the Mosque began in 785 or 786, and throughout the rule of the Omeyyad monarchs there were constant additions to the Zeca of Abd-er-Rahman I. As Cordova grew, and strangers flocked to the city from North Africa and Arabia, it was found necessary to provide a larger edifice for the worshippers. In the time of Abd-er-Rahman II., the House of Purification was enlarged by the addition of several aisles, two porches were added, and a new mih-rab was constructed. The columns were gilded at this period at the direction of the Sultan. During the reign of Mohammed I. the work was continued; the walls and portals were improved, and the maksurrah, or railed sanctum for the Khalif, was also built. The ruler attended the services in great pomp on Fridays, approaching the Mosque by an underground passage from his palace.

Hisham’s temple covered an area of 460 feet from north to south, and 280 feet from east to west. It was flanked by stout, fortified walls, with watch-towers and a tall minaret. The number of the outer gates was nine, and of the inner doors eleven. These doors led to the same number of naves within the Mosque. The court had spacious gates on the north, west, and east sides, and fountains for the purification of the pious. The naves were eleven in number, stretching from north to south, and these were crossed by twenty-one smaller naves running from east to west.

In the Mezquita of Cordova we see the first examples of the true Arabian architecture, whose purity was lost at a later date in the style of the Almohades. The Estilo Sarraceno, or earlier style of design and decoration, has an example in the beautiful Puerta del Perdon of the Mosque of Cordova. We learn that by the year 1282 the fashion in form and adornment had so greatly changed, that the Moors who then remained in the city appeared unable to follow the tradition of their craft in decorating the interior of the cathedral. Even in the reign of Almanzor, the specific style of the Arabs was giving place to less beautiful conceptions of line and decoration. Nevertheless, it is generally admitted that the Mosque is the finest example in Europe of the Moorish religious edifice. It maintains uniformity in the plan of its construction, while the dimensions are enormous, and the adornment elegant and characteristic of the art of Islam in the flower of its might and magnificence.

Abd-er-Rahman III. assumed his title of Khalif with the style of En-Nāsir li-dīni-llāh, ‘the Defender of the Faith of God,’ added to the Mosque a new tower, and renovated the ancient façade. The minaret contained two staircases, which were built for the separate ascent and descent of the tower. On the summit there were three apples, two of gold and one of silver, with lilies of six petals. The minaret is four-faced, with fourteen windows, having arches upon jasper columns, and the structure is adorned with splendid tracery.

Long before the final stages in the history of the Omeyyad builders, the Moslem temple of Cordova was deemed one of the greatest marvels of architecture in the world. The chroniclers and poets of the period unite in applauding the zeal of the sovereigns who expended such vast treasure in furthering the glory of Allah by the erection of this sumptuous and dazzling tabernacle. Abúlmothanne, the poet, wrote of the Mosque: ‘To it the pilgrims resort from all parts of the world, as if it were the sacred temple of Mekka. Indeed, its mih-rab, when examined, will be found to contain rokn (angles) as well as makárn (standing-place).’ And another singer proclaimed that the Mosque, which was consecrated to God, was ‘without equal in the world.’

Hakem II., Al-Mostansir-billáh, greatly increased the size of the building. This just and cultured ruler caused the construction of the third mih-rab, which was over four years in the making and rivalled all the previous work in this gorgeous part of the Mosque. The new sanctuary was crowned with a splendid cupola, and the marvellous mosaics of foseyfasa were introduced. Hakem also designed a fresh maksurrah for the Sultan, a space enclosed by an ornate wooden fence or screen, which was beautifully domed in the Byzantine style.

Hakem II. was not only occupied in extending and adorning the interior of the Mezquita. During his busy reign in Cordova, the immense library was enlarged by contributions of manuscripts upon all subjects, gathered from every part of the civilised nations. But the library, with its unique treasures of Oriental lore, and its works of science in many languages, was lost to the world upon the wrecking and downfall of the city. The fruit of Hakem’s devotion remains, however, in the most gorgeous and lovely embellishments of the Mosque. This Khalif also built an alms-house adjoining the temple, and quarters for the residence of the preachers and officials of the house of worship.

The style introduced by Hakem II. is seen in the Puerta Murada, in the holy mih-rab, and the part once occupied by the maksurrah. This sovereign delighted in rich colouring, in splendour and daring in the construction of delicate columns to heavy arches, and in the extension of the fantastic arched naves. He almost doubled the size of the Mezquita by the extensions on the south side.

Under Almanzor there was no slackening in the enthusiasm which the Omeyyad family exhibited in improving Cordova and extending and beautifying its famous House of Purification. The part added to the Mosque by Almanzor is that behind the altar, to the left, when entering by the Door of Pardon. The enlargement during this Khalif’s rule was towards the east. New rows of columns, numbering eight, were added, giving a fresh sense of vastness to the aisles and vistas of interlaced arches.

The great Mosque was completed in the time of Almanzor, and its completion was the presage of the decline of Arab power in Spain. In extent the building now measures 394 feet by 360 feet. Almanzor put the finishing touches to the work which Abd-er-Rahman I. began. For generations architects, designers, artists, masons, and metal-workers had lovingly toiled to produce a triumph of art.

The Mosque was finished. Almanzor sought to improve upon the designs and bewildering brilliance displayed in the labour of preceding reigns; but it is doubtful whether his endeavours heightened the splendour of the structure, or gave fresh lustre to the building that stood in the days of Hakem II. It is agreed among the authorities upon Moorish art that Almanzor’s contributions to the edifice show evidence of a decline in taste, and a waning of the æsthetic sense of the Arab-Byzantine schools of designers and craftsmen.

When Almanzor died, the Mosque was 742 feet in length from north to south, and 472 feet in width from east to west. It was encompassed by battlemented walls, with towers of irregular height. The south wall was the highest, and it had nineteen towers. The total number of the watch-towers was forty-eight, and the majority of these have survived.

In the stressful days when the Moorish colonisers sought to possess the whole of the Iberian Peninsula, Cordova was stoutly fortified, and the Mosque was protected by this unscalable wall. This barrier of stone is over six feet thick, and designed to withstand the most violent battering. The defences of the sanctuary are very picturesque; there is a subject for the painter at every tower and corner; but they are perhaps a little less wonderful than the grim walls of Avila, or the sombre parapets of brown Toledo. They are made of durable stone, which is marvellously preserved. Many times have these battlements shuddered at the shouts of the fierce besiegers and the determined defenders; often have their stones been stained with the blood of Goth and Moor.

To-day, in the shadow of the walls, we stroll and look upon the calm vistas, the plain, and the cold grey slopes of the sierras, and see the beggars shrinking from the blinding glare of the sun, prone upon the ground in their tatters, in the cool shelter which the tall towers yield. The Mosque dreams, as all things dream in ancient Spain. Its solid outer walls have defied the ravage of storms and wars. They remain weird monuments of Oriental strength, placid and somewhat mournful in their magnificent sufficiency.