Global Posts

2nd Century BC to 710 AD.

While Cordoba is known as the ‘City of the Caliphate’, its story begins many years before Islam arrived in the Iberian Peninsula. Like most of Spain, during the 3rd century BC, the settlement that would become Cordoba was colonized by the Carthaginians. Following the Second Punic War, like most of the Carthage’s colonies, it was annexed by the Romans (they had a habit of doing that). It would be thoroughly Romanized over the following centuries; it wasn’t Roman enough to some, as it was sacked by Julius Caesar in 45 BC and settled by soldiers of Augustus after he won the civil wars that followed Caesar’s murder. Starting in the 2,000s BC, olives had been cultivated in the region around Cordoba, and this would only continue under the Romans and grown even more into a massive operation. By the late 500s AD, that region of Spain would be conquered by the Visigoths.

711 AD to the 10th Century AD.

In 711 AD Cordoba was captured by the Umayyads and soon the city became the jewel of the Islam in that corner of their world. When the Umayyads were overthrown by the Abbasids in 750, one of the last surviving members of the Umayyad Family, Abd Al-Rahman the First. He declared the Emirate in 756. Over the next 25 years Rahman would go on to conquer all of the other petty rulers known as the Fihrids that had existed in the Peninsula (there can only be one!) Over time the Emirate would fall into somewhat of a decline, but in 912 a new Emir would rise to restore the might of the Emirate, Abd Ar-Rahman the Third. He would go on to launch a myriad of campaigns to restore the central authority of Cordoba. In 929 he would declare himself Caliph, being the third Caliph in the Islamic world along with the remnants of the Abbasids in Baghdad and Fatimids in Cairo. (A counter Caliphate if you would).

10th Century to the 12th Century AD.

Throughout most of Cordoba’s history under Muslim rule was the focal point for the flax and silk trade in Iberia. Naturally it was also a titan in the textile industry. Textiles were not the only thing it was well known for, as with much of the Islamic World, its many libraries and being a center of learning. At its academic zenith, the city boasted up to 80 libraries and produced many notable Islamic mathematicians, scholars, and historians. Over time the population of the city also begin to grow steadily and by 1000 AD the city had well over one-million people living within its walls. Overtime due to political infighting and widespread instability in the Caliphate, the region would facture into several smaller state. At this time, several rulers would integrate Jewish and Christian advisors. Due to the somewhat lax nature that had fallen over the Caliphate in terms of obeying Islamic Law, chiefly by being more tolerant to other religion, allowing music, and allowing the consumption of alcohol. Additionally, weakness politically and fracturing into smaller the Taifa kingdoms, Al-Andalus would be invaded by the Almoravids of Morocco in the late 11th Century AD who were stricter in their interpretations and practicing of Islam.

Sources organized in tandem with the events listed above:

Keay, J. Simon. ‘Oxford Classical Dictionary’ Oxford University Press (2020) Page 374.

Link: The Oxford Classical Dictionary – Google Books

Collin, Roger ‘Visogothic Spain: 409-711’ Blackwell Publishing (2004) Page 134.

Link: Visigothic Spain 409–711

O’Callaghan, Joseph ‘A History of Medieval Spain’ Cornell University Press (1975) Pages 100-101.

link: ProQuest Ebook Central – Reader

“Muslim Spain (711-1492)” BBC (2009).

Link: BBC – Religions – Islam: Muslim Spain (711-1492)

Kennedy, Hugh ‘Muslim Spain and Portugal: A Political History of Al-Andalus’ Routledge (1996). Pages 82-94, 154-165 (for Almoravid Conquest), and 196-200 (for Almohads).

Link: Muslim Spain and Portugal: A Political History of al-Andalus : Hugh Kennedy : Free Download, Borrow, and Streaming : Internet Archive

Near the heart of the city of Madrid, its white columns glimmering in the rays of El Sol, stands the Museo Del Prado. Built in 1785 under the orders of King Charles III, it was originally intended to be the home of the National History Cabinet. Luckily for us, however, and thanks to the prompting of his wife, King Ferdinand VII (the grandson of King Charles) designated it as the Royal Museum of Paintings and Sculptures and now is the home of some of the most significant and beautiful works of art in the world. 

One such work, watching over the paintings in room 014, is Christ Crucified, painted by Diego Velázquez around 1632. It depicts Christ suspended on the cross, his pale figure illuminated against the darkness of the background, his isolation in his passion driven into our minds by the starkness and loneliness of his setting. By the wound on his side, we know that he’s already dead, but despite the gruesome details of the story of his death, this Christ is peaceful. He’s upright and firm, his face is calm and beautiful. Contrary to the more popular trend of the time of placing one foot atop the other, he’s instead held up by two feet planted on the suppedaneum, giving us a sense of rest, of stability, and of firmness. The Christ in this work is beautiful and calm- Velázquez is showing us a different aspect of this scene, drawing from the idea that Christ, while being beautiful in his soul, was also the most physically beautiful person to live. This isn’t the dramatic, emotional and gruesome crucifixions we’re used to seeing from the baroque. This Christ seems to be gently reposing on the cross, beautiful, serene, and solemn. His face is partially veiled by a curtain of his hair, drawing us in and inviting us to look closer to peak under and reveal the beauty of his face.

The entire painting, its solitary setting, its calmness and serenity, the four nails, the already dead Christ- everything even down to the fully written text above Christ’s head (“Jesus of Nazareth, king of the Jews” In Latin, Hebrew, and Greek), is a massive departure from the baroque trends of the time. They favored three nails, a living, suffering figure with a more dynamic, twisting pose, an abbreviated INRI instead of the written text, and most significantly, the drama and emotion of the typical Baroque crucifixion. 

All these aspects that Velázquez is rejecting and the solemnity of the iconographic quality he’s embracing come from the ideas of the artist Pacheco, who advocated for these breaks in the trends in his book Art of Painting. His idea was to create something that was ancient, that pulled from the old iconographic ideas of painting, that inspired the viewer with its solemnity. Pacheco believed that painting was the superior medium, it could, he said, create something embraceable. Paintings such as this were made for chapels and churches, to be hung among the softly glowing candles and gazed upon during prayer. Pacheco wanted artists to create an experience– the solemnity of feeling as though the figure was incarnate in front of you, and if you reached out, you could embrace it. 

These ideas are more than evident in Velázquez’ Christ- He took these ideas and transcended them into something above and beyond anything attempted before. His Christ is so soft and lifelike, so delicate and beautiful, it feels as though you have to hold your breath or you might disturb the sweet rest of the gentle figure. Unlike any painting of its time, Velázquez shows us a Christ that is gently reposing on the perfectly crafted cross, enveloped in softness and light, stretching out his arms on the beams of the cross, inviting your embrace. This is just one masterpiece in the Museo del Prado, and its richness, significance, and symbolism could be studied for days. I invite anyone, whether a student or teacher of the arts, of history, of theology, or anything in between, to come and experience the embraceability Pacheco so strongly advocated for, embodied, or more appropriately incarnate in the dazzling work of Velázquez.

Magic Fountain of Montjuïc: This fountain plays an important role in Barcelona. It combines the need for water and art into the fountain known as the Magic Fountain of Montjuïc. This fountain is historically significant to Barcelona for multiple reasons. The first is that it was a reliable water source in the fourteenth and fifteenth centuries in Barcelona. Secondly besides historic reasons to visit there was a light festival held in the 1980s and is incorporated into many events that happened. It was featured in the Olympics when Barcelona held them.

This fountain is significant because it is not just a water source, it is also a significant art piece as well. –No pun intended. Performances are held in front of this fountain. There are over three-thousand jets with over fifty colors attached to this fountain and it contains many lights. Often in the modern times,pop music is often played when the light festivities are going on. It is truly a beautiful site to see.

The fountain was originally constructed in 1929. One of the most devastating things that happened to this fountain is that it was destroyed during the Spanish Civil war. It is currently restored. It was restored by the Universal Expedition in the 1980s, which is roughly fifty years after the Spanish Civil War.

Many individuals tour this fountain on the weekend. This fountain has a myth that many people believe in. The myth allegedly is that if you drink the fountain water, the person who drank the water will immediately fall in love. This is so romantic. You can party, learn about history, and fall in love on the same weekend!

Barcelona Pavilion: This building plays a significant role in Barcelona as a historical site and a tourism attraction. It was first constructed in 1928 and finished in 1929 by the architects Mies van der Rohe and Lily Reich; this Pavilion has another name and can be referred to as the German Pavilion. This building is home to many art pieces that have meaning, it was designed in the twentieth century and contains many modern art pieces.

It was built with both German and Spanish influences. Many plans that Mies first wanted were rejected by the Spanish monarchy. Once there was a plan that they both agreed, construction of the Pavilion began. The Museum is home to minimalistic art and in the twenty-first century it includes many marble slabs and art pieces.

Rohe wanted this to be “tranquil” and for people to enjoy.* The museum that Rohe built was disassembled in 1930 and in 1983, they rebuilt the building and construction was finished in 1986. The Architect was Oriol Bohigas of the reconstruction. The building people see when they go visit the art Pavilion by Bohigas and the modern building is on top of the old site.

People should visit the Pavilion because it is a beautiful site full of many art pieces that are calming, historic, and relaxing. It allows the individual to explore an art museum quite like no other.

*https://architectuul.com/architecture/barcelona-pavilion#:~:text=The%20building%20has%20become%20a,glass%2C%20steel%20and%20extravagant%20marble.