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Infidels_ A History of the Conflict Between Christendom and Islam - Andrew Wheatcroft [215]

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they brought their deaths upon themselves, as indeed the authorities in Cordoba, both Christian and Muslim, clearly believed.

59. Eulogius, Epistula ad Alvarusum, 1, cited and translated in Coope, Martyrs.

60. R. A. Markus, The End of Ancient Christianity, Cambridge: Cambridge University Press, 1990, p. 24.

61. Coope, Martyrs, p. 52.

62. Ibid., p. 69.

63. Alvarus, Indiculus luminosus, cited and translated ibid., p. 49.

64. Ibid.

65. Cited in Safran, “Identity and Differentiation,” p. 583.

66. Ibid. Abu Abdullah, Malik bin Anas, was born in Medina in 715. He produced the Kitab-al-Muwatta, the earliest surviving book of Islamic law, and made an important collection of hadith, oral traditions of the Prophet. The Malikite legal tradition followed in Al-Andalus “disliked marriage with dhimmi women but did not forbid it. He [Malik] disliked it because the dhimmi wife eats pork and drinks wine and the Muslim husband kisses her and has intercourse with her. When she has children, she nourishes them according to her religion; she feeds them food that is forbidden and gives them wine to drink. Malik disapproved of intermarriage out of concern for purity and also because he feared for the religion of the children.”

67. Dozy, Spanish Islam, pp. 445–6.

68. See Las Andalucías de Damasco a Córdoba, Paris: Editorial Hazan, 2000.


CHAPTER 4: “THE JEWEL OF THE WORLD”

1. See Dodds, Architecture, pp. 94–6.

2. In much the same way that the Ottoman Turks centuries later adapted the architectural traditions of the Byzantines in building their state mosques. See Godfrey Goodwin, A History of Ottoman Architecture, London: Thames and Hudson, 1971.

3. From a Spanish translation of Ibn Idhari, Al Bayan al Mughrib.

4. Excavations have now extended to some ten hectares, less than 10 percent of the 112 hectares that comprised the whole palace. The palace was built on rising ground overlooking the river Guadalquivir, with the caliph’s personal quarters like a mirador looking out over the countryside. See Las Andalucías de Damasco a Córdoba, Paris: Editorial Hazan, 2000, pp. 64–5.

5. For Abd al-Rahman’s palace reception and its impact, see Dozy, Spanish Islam, pp. 446–7. The entry of Caliph Omar into Jerusalem and, specifically, whether he was riding upon an ass, a horse, or a camel has its own hotly disputed symbolism; see http://answering-islam.org/Responses/Al-Kadhi/ro6.14.html. The significance of his riding an ass is that it would have echoed the prophecy of Zechariah 9:9—“Behold, thy King cometh unto thee; he is just, and having salvation; lowly, and riding upon an ass, and upon a colt the foal of an ass.” It was widely known that Christ had entered the city on an ass, in fulfillment of that prediction. Another echo was that of al-Buraq, a magical beast that had carried the Prophet Mohammed to Jerusalem on his night journey, and which was often depicted as part winged ass and part mule. These complex resonances also have a more modern context. In 1918 General Allenby, followed by his staff, had deliberately dismounted from his horse so as to enter Jerusalem respectfully on foot, unlike the German Kaiser Wilhelm II, who on his visit ten years before had been driven through the Jaffa Gate in great state. Allenby’s Christian humility was ordered by the Foreign Office to contrast with the emperor’s apparent Teutonic arrogance.

6. Ibid., p. 447.

7. See R. A. Fletcher, Saint James’s Catapult: The Life and Times of Diego Gelmírez of Santiago de Compostela, Oxford: Oxford University Press, 1984, pp. 56–8.

8. Castro, Structure, pp. 130–45.

9. See Dozy, Spanish Islam, p. 519.

10. Ibid., p. 520. Castro, Structure, says that the bells were melted down to make lamps for the mosque.

11. Bruce Lincoln gives some sense as to what was intended in attacking the symbolic aspects of the shrine when describing the attack on the emblems of the church at the start of the Spanish Civil War in 1936: “It is their [the enemies of the church’s] intent to demonstrate dramatically and in public the powerlessness of the image and thereby inflict a double disgrace

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