THE MOTHER CHURCH OF THE
DIOCESES
The cathedral of Córdoba is not simply a monument
or a temple of different cultures; not is it a mosque,
but the Mother Church of the Dioceses. The term "cathedral"
derives from "cathedra", or seat of the bishop,
from where he acts as the pastor of all people. That is
why a cathedral is the express image of the Church of
Christ that preaches, sings, and adores throughout the
world. Thus the beauty of the Cathedral of Córdoba
does not reside in its architectual grandeur, but in the
apostolic succession of the Bishop as a symbol of his
pastoral service and the unity of the Church, founded
upon the World of the Lord, the sacraments, and the community
of believers.
The Cathedral is alive, it is witness to our history.
It acts as a book that conveys the message to those who
will read it, the message of the altar, the naves altarpieces...
teaching us to know and love God, the world, and the human
being.
THE ORIGINS
Beneath every cathedral is always a bed of hidden cathedrals.
In the case of Córdoba, tradition traces back to
its Visigoth origins.
This
fact is confirmed by archeological excavations, whose
remains can be found at the Museum of San Vicente (Saint
Vincent) and in the pits where the remains of mosaics
from the ancient Christian temple can be observed on site.
It is a historical fact that the basilica of San Vicente
was expropiated and destroyed in order to build what would
later be the Mosque, a reality that questions the theme
of tolerance that was supposedly cultavated in the Córdoba
of the moment.
This was the main church of the city, a martyry basilica
from the 6th century, that would be remembered and venerated
by Christians, centuries after its destruction. 
THE ISLAMIC INTERVENTION
Following the Ismamic invasion of Córdrba, the
dominating Muslims proceeded to the demolition of the
martyry church of San Vicente and, in the year 785, began
construction of the Mosque, a building that would come
to be considered the most important sanctuary of Western
Islam, in a time when Córdoba was the capital of
Al-Andalus ( a territory extendeng as far as the Duero
River).
This impressive creation, the site of not only religious
but also social, cultural, and political manifestations,
went through four stages of construction:
Abd-ar-Rahman
I:
Ispired by the Mosque of Damascus, with the traditional
distribution of sahn (ablution courtyard) and zulla (hall
of prayer). Yet a strong Hispano-Roman influence is perceived,
not only from the use of materials that came from the
demolished church of San Vicente, but also because the
direction of the nave was set towards (and nor parallel
to) the wall of the quibla, as was the case in Visigoth
churches. Further more, the superposed arches and the
alternation of brick and stone (red and beige colors)
in the bonding of the arches were modeled after the Episcopal
palace whose remains are found in the archeological site
of Cercadilla.
Abd-ar-Rahman II:
During this prosperous stage of the Independent Emirate
(though also a time of Christian persecution), the first
addition to the Mosque was carried out, maintaining the
scheme of the preceding ruler and prolonging the courtyard
and the aisles of the precedeng ruler and prolonging the
courtyard and the aisles of the prayer hall. In this courtyard,
the Omeyan caliph Abd-ar-Rahman III ordered the construction
of the minaret that is now embedded in the tower of the
cathedral.
Al Hakam II:
In the full splendor of the caliphate, the Aljama Mosque
was so richly expanded that Córdoba would come
to substitute Damascus as a model of reference. This was
a unique work, not only because of the materials created
"ex-profeso" (as opposed tu using existing remnants
of other constructions), but above all because of the
presence of Byzantine artists sent by the Christian emperor
Nicéforo Focas, who also provided the beautiful
mosaics used in the construction of the mihrab (sacred
area from where the iman lead prayer). There is another
Christian contribution: the cross-like design of the ensemble
formed by the skylights and the mihrab, presenting the
Latin cross plan and reaffirming the influence of the
basilica structure found in the initial structure.
Al-Mansur:
Carried out the final expansion, adding eight aisles along
the east of the building, including the courtyard. This
was the most extensive part of all the work carried out.
Its intention was an ostentatious display of power, though
it was not very original, as it merely copied the existing
structure, keeping costs low. The alternating colors of
the arches, for example, are not produced with brick and
stone, but paint.
THE CHRISTIAN TRANSFORMATION
King Ferdinand III, called
El Santo (the Saint), reconquered Córdoba in 1236.
It was his will that in the entrance to the city the royal
banner be preceded by the Cross, symbolizing the importance
of the recuperation of Christian faith above that of the
territorial conquest. He also preferred to be absent during
the purification ritual of the mosque, making the Eternal
King the sole protagonist of the ceremony that would turn
each stone of the edifice into a site consecrated to Christ.
It is evident that the Christians were eager the proclaim
the Gospel that many had given their lives for. It was
a matter of recuperating a sacred space that had suffered
the imposition of a faith that was distant from the Christian
experience. The Main Chapel of Villaviciosa was erected
below the Al-Hakam II skylight, where the first Eucharistic
ceremony of the Dedication of the Cathedral was celebrated
in 1236. Thus the reforms of the Cathedral were motivated
by the need to restore the cult that had been interrupted
by Islamic domination, and they were a response to the
desire of contemplating Christian symbols, or the inconvenience
of celebrating the Liturgy amid a sea of columns.
Main Chapel, Transept, and Choir:
The works, surrounded by controversy, began in 1523. The
architects were Hernán Ruiz I, II, and III, Diego
de Praves, and Juan de Ochoa. The result was a Latin cross
shaped plan, an ingenious integration of the caliph structures
within the gothic, renaissance, and baroque creation.
The main altarpiece was the work of Alonson Matías.
The choir is covered by a vault inspired by the Sistine
Chapel, with a extraordinary set of stalls by Duque Cornejo.
The Chapels: They are the
result of the wish of believers to be buried at the cathedral
and to furnish its walls with images expressing the Mustery
of Christ. The Capilla Real (Royal Chapel) stands out
for its Mudejar plasterworks and holds the remains of
Kings Ferdinand IV and Alfonso XI. Also noteworthy are
the Capilla de la Purísima Concepción (Chapel
of the Immaculate Conception), once the baptistery and
now home to the monstrance of the body of Christ, and
the baroque Capilla de San Pablo (Chapel of Saint Paul),
as well as many other chapels and altars found in the
cathedral, displaying a rich artistic legacy, fuit of
the faith and devotion of the Christian people. And especially
striking is the Parroquia del Sagrario (Parish of the
Tabernacle), for its mural paintings by César Arbasia,
of the Martyrs of Córdoba invited to the Eucharist,
encouraging believers to remains firm in their faith.
The
Cathedral Treasury: Composed of pieces used for
cathedral cult as well as for chapter and Episcopal usage.
The outstanding Corpus Christi monstrance by Enrique de
Arfe is still used in modern-day processions, giving testimony
to the devotion of the people of Córdoba towards
the Eucharist.
The orange tree courtyard and the
tower: The Muslim courtyard was remodeled with
the construction of the cloisters. In the 15th century
the original palm trees were substituted by the orange
trees that now give it its name.
The present-day tower was built over the minaret of Abd-ar-Rahman
III, its belfry the work of Hernán Ruiz III It
is crowned by a sculpture of San Rafael (Saint Raphael),
the guardian archangel of the city. Below the tower is
the Puerta del Perdón (Door of Forgiveness), the
main entrance to the precincts.
A REFLECTION
It is the Church, through its Cathedral Chapter, that
has made it possible to keep the former mosque of the
Western Caliphate, the oldest cathedral in Spain, and
a World Heritage Site, from becoming a heap of ruins.
In fact this has always been one of the missions of the
Church; to safeguard and inspire culture and art.
The visit to the Cathedral of Córdoba may awaken
the demand of a greater Beauty that will not wither with
time. Because beauty, as truth and righteousness, are
an antidote for pessimism, and an invitation to take pleasure
in life, an impact that stirs the nostalgia of God.
