DOI Page / Citation link:
https://doi.org/10.11588/diglit.10357#0081
58
PICTURESQUE PALESTINE.
When the Crusaders reached Jerusalem it is said that they found the Dome of the
Rock covered with inscriptions in the Cufic character, which stated that the building had
been erected by Omar. These have disappeared, as well as the Latin inscriptions with which
the mosque was adorned, inside and outside, during the Christian occupation of the Holy
City. One of these inscriptions, which commenced " Domus mea domus orationis vocabitur,
dicit Dominus," occupied, if our interpretation of the description of Theodoricus is correct,
the place of the great Cufic inscription.
The aisles are covered by slightly sloping roofs with panelled wooden ceilings, and paved
with mosaics formed of old material, amongst which there are many fragments of sculptured
slabs. The bases and columns of the inner circle are similar to those of the octagonal screen;
the capitals differ in size, in outline, and in details, and in their state of preservation ; but in
most cases the volutes and acanthus leaves have been much defaced, the projecting edges
having been knocked off. The columns and piers are connected by a fine wrought-iron screen,
which is said to be of French workmanship of the latter part of the twelfth century, and
believed to be a relic of the Crusaders (see page 59). A fragment of the choir of the old
Christian church (Templum Domini) also remains. The discharging arches, which spring
directly from the capitals, are covered with a thin veneering of marble, black and white slabs
arranged alternately. Above the arches is the drum upon which the dome rests, divided
into what may be called the triforium and clerestory by a slight cornice. The former
is ornamented by a band of scrollwork in glass mosaics, which in many of its features
is late Roman. The clerestory is pierced by sixteen windows, between each of which
the scroll of the triforium is repeated with some slight variations. Mons. Ganneau
ascertained that on many of the vertical walls of the interior " the coloured and gilded little
cubes of glass which produce together so marvellous an effect are not sunk in the walls
so that their faces are vertical, but are placed obliquely, so that the faces make an angle with
the walls. This ingenious inclination is evidently intended to present their many-coloured
facets at the most effective angle of incidence to the eye below." This system of decoration
produces a dazzling and magical effect, which must be seen to be perfectly realised.
According to Mr. Fergusson, the history of the mosaic decoration is as follows : " When the
building was first erected by Constantine he adorned it, internally at least, with mosaics,
portions of which still remain. When the Saracens took possession of the Dome of the
Rock they destroyed those parts of these mosaics representing emblems offensive to Moslem
ideas, and replaced them by those others which we now see. When the Christians regained
possession of the building in 1099 they obliterated the Saracenic inscriptions and replaced
them by the Latin ones, copied and published by John of Wlirzburg and Theodoricus.
Lastly, when the Moslems recovered the Kubbet es Sakhra, Saladin, or some one about
his time, obliterated the Christian inscriptions, remodelled entirely the mosaics of the side
aisles at least, and inserted the Cufic inscriptions, which ascribe the erection of the building
to Abd el Melik or El Mamun."
PICTURESQUE PALESTINE.
When the Crusaders reached Jerusalem it is said that they found the Dome of the
Rock covered with inscriptions in the Cufic character, which stated that the building had
been erected by Omar. These have disappeared, as well as the Latin inscriptions with which
the mosque was adorned, inside and outside, during the Christian occupation of the Holy
City. One of these inscriptions, which commenced " Domus mea domus orationis vocabitur,
dicit Dominus," occupied, if our interpretation of the description of Theodoricus is correct,
the place of the great Cufic inscription.
The aisles are covered by slightly sloping roofs with panelled wooden ceilings, and paved
with mosaics formed of old material, amongst which there are many fragments of sculptured
slabs. The bases and columns of the inner circle are similar to those of the octagonal screen;
the capitals differ in size, in outline, and in details, and in their state of preservation ; but in
most cases the volutes and acanthus leaves have been much defaced, the projecting edges
having been knocked off. The columns and piers are connected by a fine wrought-iron screen,
which is said to be of French workmanship of the latter part of the twelfth century, and
believed to be a relic of the Crusaders (see page 59). A fragment of the choir of the old
Christian church (Templum Domini) also remains. The discharging arches, which spring
directly from the capitals, are covered with a thin veneering of marble, black and white slabs
arranged alternately. Above the arches is the drum upon which the dome rests, divided
into what may be called the triforium and clerestory by a slight cornice. The former
is ornamented by a band of scrollwork in glass mosaics, which in many of its features
is late Roman. The clerestory is pierced by sixteen windows, between each of which
the scroll of the triforium is repeated with some slight variations. Mons. Ganneau
ascertained that on many of the vertical walls of the interior " the coloured and gilded little
cubes of glass which produce together so marvellous an effect are not sunk in the walls
so that their faces are vertical, but are placed obliquely, so that the faces make an angle with
the walls. This ingenious inclination is evidently intended to present their many-coloured
facets at the most effective angle of incidence to the eye below." This system of decoration
produces a dazzling and magical effect, which must be seen to be perfectly realised.
According to Mr. Fergusson, the history of the mosaic decoration is as follows : " When the
building was first erected by Constantine he adorned it, internally at least, with mosaics,
portions of which still remain. When the Saracens took possession of the Dome of the
Rock they destroyed those parts of these mosaics representing emblems offensive to Moslem
ideas, and replaced them by those others which we now see. When the Christians regained
possession of the building in 1099 they obliterated the Saracenic inscriptions and replaced
them by the Latin ones, copied and published by John of Wlirzburg and Theodoricus.
Lastly, when the Moslems recovered the Kubbet es Sakhra, Saladin, or some one about
his time, obliterated the Christian inscriptions, remodelled entirely the mosaics of the side
aisles at least, and inserted the Cufic inscriptions, which ascribe the erection of the building
to Abd el Melik or El Mamun."