The hollowed roof of the mih-rab and the floor are of white marble. We may see the marks worn by the knees of the faithful who came hither to pay their devotions to the Father of Islam. The mosaics of the walls exhibit the finest designs and richest tones of the _foseyfasa_ work. This is the third mih-rab, the production of Hakem, and it is a retreat that speaks eloquently of that piety which seeks to glorify a deity by the erection and adornment of a temple. It is resplendent beyond compare. This chamber was the repository of the famous _nimbar_, a pulpit on wheels, which had seven steps, and could be moved to any part of the Mosque. When the Christians regained power in the city, this highly ornamented pulpit was cut into pieces, and portions of it were used in the construction of the altar. The superb copy of the Koran, to which we have referred before, was kept in a golden case, mounted with precious stones. It was so heavy that two men were required to carry it. Upon the ceiling of the Mezquita there were formerly inscriptions. Among them were the command: ‘Be not one of the negligent,’ and the dictum: ‘There is no God but Allah, to whom all beings address themselves in their need.’ The Christians effaced these inscriptions when the Mosque was purified and consecrated to the Virgin Mother. In the Capilla de Villaviciosa we shall see the Arab-Byzantine crossed arches on decorated columns. This was the retreat of the Khalif, and it was once lined with silver. The chapel is the only one of Moorish interest. There are forty-five Christian chapels, but these scarcely demand inspection. In front of the Capilla of San Pablo is the tomb of Pablo de Céspedes, the Cordovese painter. This chapel has a horseshoe arch with sharp points. The Capilla de la Cena contains ‘The Last Supper,’ painted by Céspedes. And in the Sala Capitular were statues by Alonso Cano and de Mora. The chapels were constructed from the side aisles of the Mezquita when the building was dedicated to the Christian faith. After the capture of Cordova by San Fernando, the original work of the Moorish builders was spoiled in many parts of the Mezquita. Large surfaces, beautifully designed and coloured, were removed by the innovators, columns were pulled down, and screens destroyed. ‘The gold lavished on the panelled ceilings,’ so praised by an Arab poet, was obliterated in many places; the Christian architects wrought havoc in almost every part of the structure. No doubt the pious reconstructors were unconscious of their vandalism. They sought to improve upon the art of the Mohammedans, and to build a worthier edifice. But their failure is only too apparent, and it has been admitted by Spanish writers. Charles V. expressed sorrow at the garish and meagre innovations, saying that the designers and craftsmen had destroyed a great and unique work of art in their endeavour to improve upon the design of the Moriscos. VII THE CATHEDRAL AND CHURCHES