DOI Page / Citation link:
https://doi.org/10.11588/diglit.26747#0518
454
SARACENIC ARCHITECTURE.
Book 1N.
cult to understand rnany of the original arrangements, especially how
it was lighted—the few doors towards tlie court and on the sides would
not suffice for this, and there is no appearance of a clerestory in the
centre. The original roof, however, which was of wood richly carved
and painted, has heen removed, and hrick vaults substituted. My
own impression is that the upper part of the side-walls was originally
an open arcade or colonnade on the two sides at least, which is con-
fiiined hy the fact that the side-aisles are narrower than the others
exactly hy the thickness of the walls ; so that, if the walls were low,
with columns standing on the outer edge, the width of these aisles
would he uniform with the rest.
The Sanctuary with its appurtenances was rehuilt hy tlie Calipli
Hakeem, a.d. 965, and is
the most heautiful and
elahorate specimen of
Moorish architecture in
Spain and of the hest
age. In the great hody
of the mosque the archi-
tects employed columns
brought from the ruined
Eoman cities of Merida
and that neighbourhood,
prohahly those support-
ing the porticos of the
Forum and streets, or the
courts of private houses.
These heing small and
low, thev were ohliged to
employ the expedient of
placing arch over arch to
eke out their height—to
invent in short for the
nonce that strange style
which gives so peculiar
a character to this huild-
ing. Before the age of
357. Interior of Sanctuary at Cordoba. From a drawing by E1 Hakeem, however, tll6
Girauit de Prangey. style had tirae to perfect
itself; it was no longer
dependent either on tlie materials or the forms of Roman art. They
ohtained also at this time the assistance of workmen from Byzantium,
with which court the Caliphs of Spain were closely allied; and with
their own exquisite taste they made the fiwjade and niches of this part
of the huilding the most elaborate and heautiful specimens of the art
in Spain, and which, hut for the smallness of tlie scale and confined
nature of the design, might rival anytliing else found anywhere.
The flowing and graceful forms of the design here exhihited are
infinitely preferahle to the interlacing straight lines of the Alhamhra,
SARACENIC ARCHITECTURE.
Book 1N.
cult to understand rnany of the original arrangements, especially how
it was lighted—the few doors towards tlie court and on the sides would
not suffice for this, and there is no appearance of a clerestory in the
centre. The original roof, however, which was of wood richly carved
and painted, has heen removed, and hrick vaults substituted. My
own impression is that the upper part of the side-walls was originally
an open arcade or colonnade on the two sides at least, which is con-
fiiined hy the fact that the side-aisles are narrower than the others
exactly hy the thickness of the walls ; so that, if the walls were low,
with columns standing on the outer edge, the width of these aisles
would he uniform with the rest.
The Sanctuary with its appurtenances was rehuilt hy tlie Calipli
Hakeem, a.d. 965, and is
the most heautiful and
elahorate specimen of
Moorish architecture in
Spain and of the hest
age. In the great hody
of the mosque the archi-
tects employed columns
brought from the ruined
Eoman cities of Merida
and that neighbourhood,
prohahly those support-
ing the porticos of the
Forum and streets, or the
courts of private houses.
These heing small and
low, thev were ohliged to
employ the expedient of
placing arch over arch to
eke out their height—to
invent in short for the
nonce that strange style
which gives so peculiar
a character to this huild-
ing. Before the age of
357. Interior of Sanctuary at Cordoba. From a drawing by E1 Hakeem, however, tll6
Girauit de Prangey. style had tirae to perfect
itself; it was no longer
dependent either on tlie materials or the forms of Roman art. They
ohtained also at this time the assistance of workmen from Byzantium,
with which court the Caliphs of Spain were closely allied; and with
their own exquisite taste they made the fiwjade and niches of this part
of the huilding the most elaborate and heautiful specimens of the art
in Spain, and which, hut for the smallness of tlie scale and confined
nature of the design, might rival anytliing else found anywhere.
The flowing and graceful forms of the design here exhihited are
infinitely preferahle to the interlacing straight lines of the Alhamhra,