VI THE SPLENDOURS OF THE MOSQUE

Before the rise of Mahomet, the architecture of the Arabs was almost devoid of those specific characters that we find in the later work of Omeyyad designers and artists. The pristine Arabian edifices were built as though the tent served as the model for the architects of this nomadic race. But in the great Mosque of Omar at Jerusalem we have the first example of a new and vigorous development of the art of architecture. The minaret, or praying-tower, was invented by Alwalid, and other distinctive features of the Moorish or Saracenic style were introduced in religious buildings.

In the earliest Morisco-Spanish edifices there was not much original work. The Visigothic temples were reconsecrated to the new faith and adapted to the plans of the primitive Mohammedan mosques, but the designs and style of decoration were not purely Morisco. The work was probably influenced by Persian and ancient Egyptian art, and according to Señor F. M. Tubino it contained Semitic elements. We shall also note the incorporation of the Corinthian capital with the slender Moorish column of marbles of various colours. The characteristic horseshoe arch, with its delicate columns, was one of the earliest manifestations of the developing art of the Moors. There has been much discussion concerning the introduction of the pointed arch, which is so often claimed as ‘Gothic.’ The arch in architecture was no doubt copied from the curved interlacing of the branches of trees, and the wide, flat arch was succeeded by models of a more pointed type. In the thirteenth century the pointed arch was a comparatively common form, and it is fairly evident that its origin was in the East.

In the Mosque of Jerusalem, and of Amrou, in Cairo, there were early examples of the pointed arch. The contrary flexure is a form of pointed arch, and it was used by the Moors. Sir Christopher Wren, and other authorities upon architectural art, lean to the opinion that the so-called Gothic arch is of Oriental origin. There are, however, a number of students who have endeavoured to disprove the Moorish genesis of the narrow arch.

In the First Period of Morisco architecture, the talent and the energy of the designers were chiefly applied to the planning of military defences, towers, walls, and embattlements. The Second Period was one of greater security from the alarms of wars, and the architects devoted their art to devising religious structures and noble mosques. In the Third Period we see the upraising of fine secular buildings, palaces, dwelling-houses, with their courts and colonnades, and the erection of sumptuous marble baths.

From the eighth to the eleventh century the style in Spain is known as the Arab-Spanish, and is sometimes called the Estilo Califato. This style is ‘Saracenic,’ with Jewish features. In the next period, from the twelfth to the thirteenth century, we have the Almohade development of Arabian architecture, whose examples may be seen in most of the Moorish cities of Spain. The last period—from the fourteenth to the fifteenth century—which marks the decline of the pure Morisco designs, is sometimes described as the Alhamares.

The salient characteristics of Moorish architecture are the groves of slender columns, the interlacing horseshoe arches in bewildering profusion, the minaret, with its gradually inclined path in lieu of steps for the ascent, the gorgeous colouring of flat surfaces, the mosaics, dazzling gildings, and decorations of precious stones and jewels. It was the Moor who discovered the art of preserving colour and rendering his adornments imperishable. The flat illuminations were probably imitations of Egyptian decoration, but it is not certain that the secret of preserving the lavish and brilliant colours was derived from Egypt.

In selecting his woods for the purposes of decorating the Mosque of Cordova, the Moor employed those of the most durable texture, so durable, indeed, that age has scarcely left its mark upon them. The bricks and stones are equally lasting, as may be proved by an inspection of the walls of the Mezquita. There was no hasty work in the construction of the temple of Allah. Nothing was used except material of a permanent quality. The treasure of the earth, its forests and its mountains, was employed in the great labour of duty and devotion.

It has been suggested that the horseshoe arch has a very ancient symbolic meaning of a Phallic origin. This is, perhaps, not the occasion for discussing this theory. It is apparent that the Moors employed this form of decoration upon every opportunity and complicated it in a variety of styles. They used it in their doorways, aisles, cloisters, and windows. The Ajimez window is typically Morisco. It has usually from two to three arches, supported on fine columns, and is exceedingly graceful in design. Ajimez signifies a window through which the sun or light shines. For effects of light in the interiors of their fanes the Morisco architects designed several ingenious apertures, such as the star-shaped window, through which the daylight peers with singular weirdness.

The defect of the Mosque of Cordova is in a want of space above the naves. We lack the grandeur of height within the building. Loftiness does not seem to have appealed to the designers. The average height of the columns is about sixteen feet. Length and breadth have, however, been carefully considered in the construction of the temple, and the long arched aisles are like forest avenues. There were once one thousand and twelve columns in the building, but many of these were removed when San Fernando commanded that the Mezquita should be adapted as a Christian cathedral.

The Vizier, Almanzor, removed the eastern wall of the Mosque and extended the building in order to add eight new naves. These naves had the same number of arches as those already standing, and they were intersected at right angles with lesser naves, thirty-five in number. At this period a lack of space necessitated a narrowing of some of the arches, and the curves were made more pointed. Every conceivable ornamentation was introduced in the beautifying of these arches.

The foseyfasa, or enamel-work of the Moors, is seen in its brilliant examples in the Mosque. This enamel, called foseyfasa by the Arabs, is composed of crushed glass and small pebbles baked together with gorgeous colours, and sometimes containing an admixture of gold and silver. It was used at Damascus, in the great Mosque, and at Constantinople. According to Gayangos, this mosaic enamel was set in its place by Greek mechanics imported by Abd-er-Rahman. This work is finely exampled upon the entrance to the sanctuary, and throughout the Mosque there are specimens of this wondrous art of embellishment.

The principal nave of the Mezquita has huge arches on stone columns, with finely carved capitals, and a large number of minor arches in the Estilo del Califato. Most of these columns were made from the stone of Spanish quarries. They are of jasper, marble, and other stone, and number nearly nine hundred. Narrow avenues run transversely through the grand aisles. We are lost in them; these passages appear interminable, and their ribbon decorations bewilder the eyes.

We approach the sacred mih-rab, the receptacle of the Koran, the holiest of holies of the temple. The façade is exceedingly beautiful, in the later style of decoration, and the arcades of the vestibule of the sanctuary have fine triple arches and interlacing curves of exquisite design. The dome is cone-shaped.

The door is in the Estilo del Califato, dazzling in the wealth of its colouring, marvellous in the grace and symmetry of its main arch, trefoil arches, and delicate frets. The mih-rab is seven-sided, with a cupola of extraordinary richness of hue, and details of the greatest interest. One is baffled in attempting to describe this sanctuary. The technical terms of architecture do not convey a conception of its beauty to the lay mind. In the days of its glory, the mih-rab was illuminated by an enormous lamp and huge candles. El-Makkari, the Arab, says that the great lantern had nearly fifteen hundred lights, and that the total number of lights was over ten thousand. The enamels shone with their brilliant hues in the rays of these lamp-lights and candles until the eye could scarcely rest upon the walls and the cupola. Here the khalifs came in pomp to worship, and to scan reverently the pages of the costly Koran.

The hollowed roof of the mih-rab and the floor are of white marble. We may see the marks worn by the knees of the faithful who came hither to pay their devotions to the Father of Islam. The mosaics of the walls exhibit the finest designs and richest tones of the foseyfasa work. This is the third mih-rab, the production of Hakem, and it is a retreat that speaks eloquently of that piety which seeks to glorify a deity by the erection and adornment of a temple. It is resplendent beyond compare.

This chamber was the repository of the famous nimbar, a pulpit on wheels, which had seven steps, and could be moved to any part of the Mosque. When the Christians regained power in the city, this highly ornamented pulpit was cut into pieces, and portions of it were used in the construction of the altar. The superb copy of the Koran, to which we have referred before, was kept in a golden case, mounted with precious stones. It was so heavy that two men were required to carry it.

Upon the ceiling of the Mezquita there were formerly inscriptions. Among them were the command: ‘Be not one of the negligent,’ and the dictum: ‘There is no God but Allah, to whom all beings address themselves in their need.’ The Christians effaced these inscriptions when the Mosque was purified and consecrated to the Virgin Mother.

In the Capilla de Villaviciosa we shall see the Arab-Byzantine crossed arches on decorated columns. This was the retreat of the Khalif, and it was once lined with silver. The chapel is the only one of Moorish interest. There are forty-five Christian chapels, but these scarcely demand inspection. In front of the Capilla of San Pablo is the tomb of Pablo de Céspedes, the Cordovese painter. This chapel has a horseshoe arch with sharp points. The Capilla de la Cena contains ‘The Last Supper,’ painted by Céspedes. And in the Sala Capitular were statues by Alonso Cano and de Mora.

The chapels were constructed from the side aisles of the Mezquita when the building was dedicated to the Christian faith. After the capture of Cordova by San Fernando, the original work of the Moorish builders was spoiled in many parts of the Mezquita. Large surfaces, beautifully designed and coloured, were removed by the innovators, columns were pulled down, and screens destroyed. ‘The gold lavished on the panelled ceilings,’ so praised by an Arab poet, was obliterated in many places; the Christian architects wrought havoc in almost every part of the structure. No doubt the pious reconstructors were unconscious of their vandalism. They sought to improve upon the art of the Mohammedans, and to build a worthier edifice. But their failure is only too apparent, and it has been admitted by Spanish writers. Charles V. expressed sorrow at the garish and meagre innovations, saying that the designers and craftsmen had destroyed a great and unique work of art in their endeavour to improve upon the design of the Moriscos.