The Early Christian Centre occupied one of the Roman Emona's building plots, which usually measured from 3,000 to 3,600 square metres and were demarcated by four roads. The Centre was located in the vicinity of the Forum and the western town wall, the remains of which have been preserved in the Erjavčeva cesta road across the way from the Cankarjev dom cultural and congress centre. Like most of the buildings in Emona, the Early Christian Centre, referred to by archaeologists as Insula No. 32, was originally a private dwelling, later converted into a public complex. The remains of its foundations and original paving date from the 1st century AD, the time when Emona was first built. The earliest extensive renovation took place at the beginning of the 4th century AD. Renovated paving and newly built pools indicate that the building was turned into public baths.
In the second half of the 4th century, a colour mosaic depicting early Christian symbols was laid along the building's northern façade. Written sources suggest that at the beginning of the 5th century the building was renovated and converted into a centrally heated parish complex. A rectangular baptistery with a small pool was built next to the main courtyard, and to the south of it a large portico (covered walk) with a colour mosaic sufficiently preserved to reveal the name of its maker, Archdeacon Antiochus. The parish complex was pulled down at a time unknown.References:
The Mosque–Cathedral of Córdoba, also known as the Great Mosque of Córdoba and the Mezquita is regarded as one of the most accomplished monuments of Moorish architecture.
According to a traditional account, a small Visigoth church, the Catholic Basilica of Saint Vincent of Lérins, originally stood on the site. In 784 Abd al-Rahman I ordered construction of the Great Mosque, which was considerably expanded by later Muslim rulers. The mosque underwent numerous subsequent changes: Abd al-Rahman II ordered a new minaret, while in 961 Al-Hakam II enlarged the building and enriched the Mihrab. The last of such reforms was carried out by Almanzor in 987. It was connected to the Caliph"s palace by a raised walkway, mosques within the palaces being the tradition for previous Islamic rulers – as well as Christian Kings who built their palaces adjacent to churches. The Mezquita reached its current dimensions in 987 with the completion of the outer naves and courtyard.
In 1236, Córdoba was conquered by King Ferdinand III of Castile, and the centre of the mosque was converted into a Catholic cathedral. Alfonso X oversaw the construction of the Villaviciosa Chapel and the Royal Chapel within the mosque. The kings who followed added further Christian features, such as King Henry II rebuilding the chapel in the 14th century. The minaret of the mosque was also converted to the bell tower of the cathedral. It was adorned with Santiago de Compostela"s captured cathedral bells. Following a windstorm in 1589, the former minaret was further reinforced by encasing it within a new structure.
The most significant alteration was the building of a Renaissance cathedral nave in the middle of the expansive structure. The insertion was constructed by permission of Charles V, king of Castile and Aragon. Artisans and architects continued to add to the existing structure until the late 18th century.
The building"s floor plan is seen to be parallel to some of the earliest mosques built from the very beginning of Islam. It had a rectangular prayer hall with aisles arranged perpendicular to the qibla, the direction towards which Muslims pray. The prayer hall was large and flat, with timber ceilings held up by arches of horseshoe-like appearance.
In planning the mosque, the architects incorporated a number of Roman columns with choice capitals. Some of the columns were already in the Gothic structure; others were sent from various regions of Iberia as presents from the governors of provinces. Ivory, jasper, porphyry, gold, silver, copper, and brass were used in the decorations. Marvellous mosaics and azulejos were designed. Later, the immense temple embodied all the styles of Morisco architecture into one composition.
The building is most notable for its arcaded hypostyle hall, with 856 columns of jasper, onyx, marble, granite and porphyry. These were made from pieces of the Roman temple that had occupied the site previously, as well as other Roman buildings, such as the Mérida amphitheatre. The double arches were an innovation, permitting higher ceilings than would otherwise be possible with relatively low columns. The double arches consist of a lower horseshoe arch and an upper semi-circular arch.