[Illustration: PLATE 121.
THE GATE OF PARDON.
THE BISHOP’S GATE.]
[Illustration: PLATE 122.
THE MOSQUE.
DETAIL OF THE TRASTAMARA CHAPEL.
THE MOSQUE.
THE GATE OF THE SULTAN.]
[Illustration: PLATE 123.
THE MOSQUE.
INTERIOR OF THE MIHRAB.
THE MOSQUE.
ARAB ARCADE ABOVE THE FIRST MIHRAB.]
[Illustration: PLATE 124.
INTERIOR OF THE MOSQUE.]
[Illustration: PLATE 125.
INTERIOR OF THE CHAPEL OF SAN FERNANDO.]
[Illustration: PLATE 126.
GATE OF THE CATHEDRAL.]
[Illustration: PLATE 127.
PRINCIPAL ENTRANCE TO THE MOSQUE.]
[Illustration: PLATE 128.
THE MOSQUE.
TRASTAMARA CHAPEL, SOUTH SIDE.]
[Illustration: PLATE 129.
EASTERN FAÇADE OF THE MOSQUE.]
[Illustration: PLATE 130.
PATIO DE LOS NARANJOS.]
[Illustration: PLATE 131.
CALLE DEL CARDINAL HERRERO.]
[Illustration: PLATE 132.
TOWER OF THE CATHEDRAL.]
[Illustration: PLATE 133.
THE MOSQUE. PULPIT OF THE ANGEL.]
[Illustration: PLATE 134.
THE MOSQUE. PULPIT OF THE BULL.]
[Illustration: PLATE 135.
CATHEDRAL. CHOIR STALLS.]
[Illustration: PLATE 136.
CATHEDRAL. PRINCIPAL NAVE.]
[Illustration: PLATE 137.
GATE OF ST CATHARINE.]
[Illustration: PLATE 138.
ALTAR OF SAN RAFAEL.]
[Illustration: PLATE 139.
THE HOUSE OF PÁEZ.]
[Illustration: PLATE 140.
GENERAL VIEW OF THE ROMAN BRIDGE AND CALAHORRA OVER THE GUADALQUIVIR,
TAKEN FROM THE ARAB MILL.]
[Illustration: PLATE 141.
CALAHORRA CASTLE.]
[Illustration: PLATE 142.
GENERAL VIEW OF THE ROMAN CASTLE OF THE CALAHORRA.]
[Illustration: PLATE 143.
ENTRANCE GATE TO THE ROMAN BRIDGE.]
[Illustration: PLATE 144.
ALMODÓVAR GATE.]
[Illustration: PLATE 145.
THE MILLS.]
[Illustration: PLATE 146.
GENERAL VIEW AND ROMAN BRIDGE OVER THE GUADALQUIVIR.]
[Illustration: PLATE 147.
GRATING AND COURT OF A PRIVATE HOUSE.]
[Illustration: PLATE 148.
AVENUE OF THE GRAND CAPTAIN.]
[Illustration: PLATE 149.
DISTRICT AND CHURCH OF SAN LORENZO.]
[Illustration: PLATE 150.
GENERAL VIEW OF THE BANK AND THE ROMAN BRIDGE OVER THE GUADALQUIVIR.]
[Illustration: PLATE 151.
INTERIOR OF THE PLAZA DE TOROS.]
[Illustration: PLATE 152.
HORTICULTURAL GARDENS.]
[Illustration: PLATE 153.
THE BANK OF THE GUADALQUIVIR FROM THE BRIDGE.]
[Illustration: PLATE 154.
GENERAL VIEW OF CORDOVA.]
[Illustration: PLATE 155.
COURTYARD OF AN INN.]
[Illustration: PLATE 156.
A STREET AND COUNTRY TYPES.]
[Illustration: PLATE 157.
A STREET AND COUNTRY TYPES.]
[Illustration: PLATE 158.
ANCIENT RECEPTACLE FOR WATER OF MEDINA AZ-ZAHIRA, 10TH CENTURY.]
[Illustration: PLATE 159.
CORDOVA
_Specially drawn for The Spanish Series_]
FOOTNOTES:
[1] It is said that many of the pillars were brought from the plunder
of Narbonne, the French town on the Mediterranean.
[2] The new Christian Church was dedicated to SS. Faustus and Marcial.
The priests quitted their Cathedral peacefully, bearing in procession
the relics and images of the saints.
[3] _The maksurrah_ is a screen or enclosure surrounding the _mih-rab_,
with a sort of throne or platform where the Sultan sits, elevated above
the level of the Mosque. The whole of that space which was taken up by
the _maksurrah_ is now occupied by the chapel of St. Estevan.
[4] The _mih-rab_ is a recess having a cavity within one of its walls,
wherein stood that copy of the Koran held in highest veneration. The
cavity also marked that point of the compass towards which stands the
_Ka’bah_, the object of veneration at Mecca.
[5] The four columns are yet in place in what is now the chapel of St.
Peter. Behind the mih-rab at Cordova was a room where other copies of
the Koran were kept. Both the sanctuary, and the mih-rab room, now
form part of St. Peter’s Chapel, which the inhabitants vulgarly call
La Capilla del Zancarron--the chapel of the shin-bone--from a popular
belief that the shin-bone of the Prophet was there preserved.
[6] _Foseyfasa._--Gayangos tells us that the word is not in the
dictionaries, but that, according to an old Arabian writer, it is
a substance of glass and small pebbles crushed and baked together,
uniting, with great variety of colour, great brilliancy and beauty;
it is sometimes mixed with silver and gold. One of the conditions of
peace granted to the Emperor of Constantinople by the Khalif Al-walid
was that the Emperor should provide a certain quantity of _foseyfasa_
or enamelled work for the great Mosque at Damascus. Idrísí, in his
description of the Mosque of Cordova, says that the enamel which
covered the walls of the _mih-rab_ came from Constantinople.
[7] Merwan, the last Khalif at Damascus of the Beni Omeyyah dynasty,
was the ancestor of Abd-er-Rahman I.