Caliphate Architectural Innovations: Córdoba Mosque Minaret and Facade
Stylistic Evolution of Corinthian Capitals
The degeneration of the Corinthian capital is marked by simplification. The acanthus leaves are simple and far apart, reflecting a process of geometrization that became increasingly accentuated. This specific model is also found during the time of Al-Hakam II (mid-tenth century).
The Minaret of Abd al-Rahman III (951–952)
Abd al-Rahman III commissioned a new minaret, constructed between 951 and 952, replacing the earlier structure from the time of Hisham I. The builders created a flagship model that influenced architecture for two centuries across Al-Andalus and possibly regions like Zagreb (referring to its widespread influence).
The minaret was situated on the north wall, slightly inward and to the west, where it stands today. The lower section is now encased within the later Christian tower, which utilized the minaret’s foundation.
Minaret Structure and Dimensions
Based on remaining elements and historical sources, the minaret reached a great height, measuring 47 meters high, including the finial. It consisted of two bodies, the upper one being smaller and recessed.
The lower floor has a square body. The interior is separated into two non-communicating parts by a rectangular wall. Each section contains a central pier and a staircase. There were two separate entrances: one on the south (accessed from the courtyard) and one on the north (accessed from the street). The reason for the lack of internal communication between the two staircases is unknown, but this minaret model proved highly influential.
Architectural Features of the Lower Body
The faces of the minaret are symmetrical in pairs:
- North and South Faces (Entrances):
- Entrance doors (one facing the street, one facing the patio).
- Horseshoe arches framed by Caliphate alfiz.
- Insulated, double-height twin windows.
- An attempt at a frieze featuring blind horseshoe arches framed by alfiz.
- Staggered or jagged battlements.
- East and West Faces (No Entry):
- Geminate triple openings appear at two levels, framed by alfiz.
- An attempt at a frieze featuring blind horseshoe arches.
- Stepped battlements.
The Upper Body and Finial
The upper body is recessed with a smaller base. It features doors on all four fronts, utilizing horseshoe arches framed by Caliphate alfiz. It may have originally included a dome of filling puffs (likely referring to structural elements) or a translucent dome.
The finial (*auction*) featured a decreasing number of spheres and was topped by a golden brown pomegranate (*granada*).
Strengthening the Prayer Hall Facade (958)
Abd al-Rahman III also undertook the strengthening of the prayer hall facade, necessitated because the thrust of the longitudinal arches was causing the original front wall to bow outward.
A new front was positioned in front of the facade built by Abd al-Rahman I, acting as a retaining wall. The two fronts were unified using small barrel vaults.
The facade features 11 Visigothic horseshoe arches, corresponding to the 11 naves.
Architectural Details of the Facade
The capitals used are reused Roman elements. They feature cactiform leaves attached to columns, or impost blocks (*pads*). Large pillars were created for the arches to further enhance the facade’s stability and appearance.
In the sixteenth century, all the facade arches were blinded, except for the one corresponding to the Mihrab nave. This entrance is known as the Puerta de las Palmas (Gate of the Palms) or the Arc of Blessings, and served as the mosque’s main gate for a long period.
The facade retains the impost block capitals. There are two lobed arches on each side.
The use of the lobed arch as an ornamental feature began in the tenth century, influenced by the Abbasid and Maghrebi worlds.
Within the lobed arch is an inscription from the period of Abd al-Rahman III commemorating the work, providing exact dates. We know the work dates back to March 958.
The finial of the original facade is an arch roll resting on corbels, which is characteristic of tenth-century architecture. The loops are separated by a central band featuring geometric and plant decoration. Geometric decoration in black and white is also preserved between the cantilevers.