Giralda

About

The Giralda (Spanish: La Giralda [la xiˈɾalda]) is the bell tower of Seville Cathedral in Seville, Spain. It was built as the minaret for the Great Mosque of Seville in al-Andalus, during the reign of the Almohad dynasty, with a Renaissance-style belfry added by the Catholics after the expulsion of the Muslims from the area. The cathedral, including the Giralda, was registered in 1987 as a World Heritage Site by UNESCO, along with the Alcázar and the General Archive of the Indies. It remains one of the most important symbols of the city, as it has been since the Middle Ages. The tower is one of the most famous monuments of Moorish architecture in Spain and one of the most refined examples of Almohad architecture.

The mosque was built to replace the older Mosque of Ibn 'Addabas, built in the 9th century under Umayyad rule, since the congregation had grown larger than that modest mosque could accommodate. It was commissioned in 1171 by caliph Abu Ya'qub Yusuf. Sevillian architect Ahmad Ibn Baso, who had led other construction projects for the caliph, was in charge of designing the mosque. Construction was slowed down by the redirection of an existing city sewer that needed to be moved to accommodate the broad foundation for the building, an engineering obstacle that slowed progress by four years.

From the beginning, craftsmen from all over Al-Andalus and the Maghreb were enlisted in the mosque's planning, construction, and decoration, and the caliph himself was highly invested in the process and was said to have visited the site daily. By 1176, the mosque was complete, save for the minaret; however, Friday prayer was not held there until 1182.

Upon returning to al-Andalus in 1184 for a new military campaign, Aby Ya'qub Yusuf ordered the construction of the minaret. However, construction halted that same year with the death of the architect and, a month and a half later, the caliph, who died while commanding the Siege of Santarém. His son, Abu Yusuf Yaqub al-Mansur, ordered construction on the minaret to continue upon his accession in 1184, but the work stalled again soon after and did not restart until 1188. Ahmad Ibn Baso had begun the base of the tower in cut stone and his work was continued by a Maghrebi Berber architect named 'Ali al-Ghumari, who was responsible for building the main body of the minaret in brick, and completed by Sicilian architect Abu Layth Al-Siqilli, who built the small secondary shaft at the top of the tower. The minaret was built using both local bricks and recycled marble from old Umayyad monuments. On 10 March 1198, the tower was completed with the addition of the finial ( jāmūr ) of four precious metal spheres (either gold or bronze) at the tower's peak to commemorate al-Mansur's victory over Alfonso VIII of Castile, which had taken place four years prior.

The mosque was built to replace the older Mosque of Ibn 'Addabas, built in the 9th century under Umayyad rule, since the congregation had grown larger than that modest mosque could accommodate. It was commissioned in 1171 by caliph Abu Ya'qub Yusuf. Sevillian architect Ahmad Ibn Baso, who had led other construction projects for the caliph, was in charge of designing the mosque. Construction was slowed down by the redirection of an existing city sewer that needed to be moved to accommodate the broad foundation for the building, an engineering obstacle that slowed progress by four years.

From the beginning, craftsmen from all over Al-Andalus and the Maghreb were enlisted in the mosque's planning, construction, and decoration, and the caliph himself was highly invested in the process and was said to have visited the site daily. By 1176, the mosque was complete, save for the minaret; however, Friday prayer was not held there until 1182.

Upon returning to al-Andalus in 1184 for a new military campaign, Aby Ya'qub Yusuf ordered the construction of the minaret. However, construction halted that same year with the death of the architect and, a month and a half later, the caliph, who died while commanding the Siege of Santarém. His son, Abu Yusuf Yaqub al-Mansur, ordered construction on the minaret to continue upon his accession in 1184, but the work stalled again soon after and did not restart until 1188. Ahmad Ibn Baso had begun the base of the tower in cut stone and his work was continued by a Maghrebi Berber architect named 'Ali al-Ghumari, who was responsible for building the main body of the minaret in brick, and completed by Sicilian architect Abu Layth Al-Siqilli, who built the small secondary shaft at the top of the tower. The minaret was built using both local bricks and recycled marble from old Umayyad monuments. On 10 March 1198, the tower was completed with the addition of the finial ( jāmūr ) of four precious metal spheres (either gold or bronze) at the tower's peak to commemorate al-Mansur's victory over Alfonso VIII of Castile, which had taken place four years prior.

Before its partial destruction in a 1356 earthquake, the mosque was comparable in size to the great mosque of Cordoba and its walls faced the cardinal directions with mathematical preciseness. It had a rectangular floor plan measuring approximately 113 by 135 meters. The prayer hall was symmetrical and airy, with a still-extant courtyard, the Patio de los Naranjos, or "Courtyard of Orange Trees." Its interior had a stucco-carved dome over the mihrab, as well as several matching carvings over the arched doorways. The minbar was decorated in a Cordoban style, constructed from expensive wood and embellished with sandalwood, ivory, ebony, gold, and silver. The main northern entrance to the courtyard, the present-day Puerta del Perdón, contains a bronze-plated door with geometric decoration and floral knockers. The current knockers in place are replicas of the originals which are on display inside the Giralda tower.

The minaret of the mosque still stands as the Giralda. The base at street level is a square of 13.6 m (45 ft) on the side and which sits on a solid foundation which is a bit wider, 15–16 m (49.21–52.49 ft) and about 5 m (16 ft) deep. The foundation is built with solid, rectangular stones, some taken and reused from the nearby walls of the former Abbadid palace and from the Roman city walls. [ citation needed ] The tower consists of two sections: the main shaft and a much smaller second shaft, superimposed on top of it, which is enveloped today by the Renaissance-era belfry. The main shaft is 50.51 m (165.7 ft) tall and the second shaft is 14.39 m (47.2 ft) tall and has a square base measuring 6.83 m (22.4 ft). The tower contains a series of 35 ramps winding around the perimeter of seven vaulted chambers at the tower's core. These ramps were designed with enough width and height to accommodate "beasts of burden, people, and the custodians," according to one chronicler from the era.

The decorated facades and windows on the tower are stepped to match the ramps in order to maximize light to the chambers inside. This exterior brick decoration was mainly done by 'Ali al-Ghumari, who also did repair work on the mosque. The decoration of the façades is divided into three equal vertical zones. The middle zone is occupied by the windows that provide light to the interior ramp passage. These windows vary in form from single horseshoe-arch openings to double-arched openings with polylobed (multifoil) profiles and a central marble column. They are generally framed by an ornate blind arch with marble columns on the sides and arabesque carvings in the spandrels. The two other vertical zones of the facades feature large panels of sebka motifs, each of which springs from a blind arcade of polylobed arches supported on marble columns. The top of the main shaft is decorated by another blind arcade forming a horizontal band of intersecting polylobed arches. The marble columns used throughout these areas feature spoliated Umayyad-era capitals from the 9th-10th centuries in the style of Madinat al-Zahra. Leopoldo Torres Balbás counted 92 such capitals reused in the tower. The facades of the tower did contain some plaster embellishment, but they were removed during a modern restoration. The top edge of the tower's main shaft was originally crowned by stepped or sawtooth-shaped merlons, as was common with other contemporary minarets in the region. The small secondary shaft at the top of the minaret also features sebka and blind arch decoration, though this is only visible from inside the belfry today.

Almohad-era decoration on the east façade of the tower

Almohad decoration on the secondary shaft at the top of the tower (inside the belfry today)

Umayyad-era capital (9th-10th century) re-used in one of the windows of the tower

A view from the top of the Giralda Tower facing west

A view out a window halfway up the Giralda Tower to the south

Before its partial destruction in a 1356 earthquake, the mosque was comparable in size to the great mosque of Cordoba and its walls faced the cardinal directions with mathematical preciseness. It had a rectangular floor plan measuring approximately 113 by 135 meters. The prayer hall was symmetrical and airy, with a still-extant courtyard, the Patio de los Naranjos, or "Courtyard of Orange Trees." Its interior had a stucco-carved dome over the mihrab, as well as several matching carvings over the arched doorways. The minbar was decorated in a Cordoban style, constructed from expensive wood and embellished with sandalwood, ivory, ebony, gold, and silver. The main northern entrance to the courtyard, the present-day Puerta del Perdón, contains a bronze-plated door with geometric decoration and floral knockers. The current knockers in place are replicas of the originals which are on display inside the Giralda tower.

of the mosque still stands as the Giralda. The base at street level is a square of 13.6 m (45 ft) on the side and which sits on a solid foundation which is a bit wider, 15–16 m (49.21–52.49 ft) and about 5 m (16 ft) deep. The foundation is built with solid, rectangular stones, some taken and reused from the nearby walls of the former Abbadid palace and from the Roman city walls. [ citation needed ] The tower consists of two sections: the main shaft and a much smaller second shaft, superimposed on top of it, which is enveloped today by the Renaissance-era belfry. The main shaft is 50.51 m (165.7 ft) tall and the second shaft is 14.39 m (47.2 ft) tall and has a square base measuring 6.83 m (22.4 ft). The tower contains a series of 35 ramps winding around the perimeter of seven vaulted chambers at the tower's core. These ramps were designed with enough width and height to accommodate "beasts of burden, people, and the custodians," according to one chronicler from the era.

The decorated facades and windows on the tower are stepped to match the ramps in order to maximize light to the chambers inside. This exterior brick decoration was mainly done by 'Ali al-Ghumari, who also did repair work on the mosque. The decoration of the façades is divided into three equal vertical zones. The middle zone is occupied by the windows that provide light to the interior ramp passage. These windows vary in form from single horseshoe-arch openings to double-arched openings with polylobed (multifoil) profiles and a central marble column. They are generally framed by an ornate blind arch with marble columns on the sides and arabesque carvings in the spandrels. The two other vertical zones of the facades feature large panels of sebka motifs, each of which springs from a blind arcade of polylobed arches supported on marble columns. The top of the main shaft is decorated by another blind arcade forming a horizontal band of intersecting polylobed arches. The marble columns used throughout these areas feature spoliated Umayyad-era capitals from the 9th-10th centuries in the style of Madinat al-Zahra. Leopoldo Torres Balbás counted 92 such capitals reused in the tower. The facades of the tower did contain some plaster embellishment, but they were removed during a modern restoration. The top edge of the tower's main shaft was originally crowned by stepped or sawtooth-shaped merlons, as was common with other contemporary minarets in the region. The small secondary shaft at the top of the minaret also features sebka and blind arch decoration, though this is only visible from inside the belfry today.

Almohad-era decoration on the east façade of the tower

Almohad decoration on the secondary shaft at the top of the tower (inside the belfry today)