Antonio Madrid Muñoz, Chronicler Corresponding Round and History, published March 2 in 1911, an article in the Gazette of Public Instruction and Fine Arts, where he describes two days of visiting Córdoba where he is attended by Ricardo Velázquez Bosco and Mateo Inurria, that show the work of the Mosque and the excavations of Medina Azahara. Although the story is short and predictable, This brings a very interesting fact about the annual budget of the restoration work Mosque receive from the Government of Spain.
(…)
There is substantial sum that the state grants to the restoration of the great Alhama, annual fifty thousand pesetas; but well applied as it is, It will go on slowly allowing light the wonders of this amazing example of Moorish art in its times of mighty splendor. Gradually everything disappears in Media centuries brutally fouled the fantastic creation of the Caliphs, and day after day the beauties of that unequaled monument of the Quran on your miraculous conception, in his inimitable bill. Nothing is omitted, nothing is neglected for the evocation of the past is most perfect in whole and in details; dispónense skylights in the purest sense of realism oriental; fíjanse right place at the tombstones and inscriptions that come out both Arabic, as Mudejar and neocristianas; seek with ardor underground building spoken by Bishop Osio so far without result; in a word, hácese as is possible so that the distribution of the amount I, petty course before the greatness and needs thought, respond appropriately in their results. Restoring the Cordoba Alhama is a great work that honors all, Velazquez wise to carrying the weight of the steering, the remarkable sculptor, orientalist and Director of the School of Industrial Arts Mateo Inurria, all the secondary brilliance, and those who run manually, Cordovan all, Thoroughbred artists, that yield nothing to Constantinople, Damascus and Baghdad came in other centuries to put into action the religious sublime dream of the powerful Western Califas. (…)
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Gazette of Public Instruction and Fine Arts
Madrid 5 May 1911. Nº 1.079 p. 186
The door of this picture is quite different from what we see today. In that part s unique, or overlay work, original… The picture is small,gstaria me know if crosses “Greek”(?) above it (4) who are perfectly in the current photo were covered in this. Were positioned ahi.en twentieth century stucco or are covered by?, That surprise me much. But if they were already there and in this picture are only covered only Arian would demonstrate the origin of that door and building. The bow would not be as, Muslim, if Visigoth well as the original building. In Almonaster have a “mosque” small, but in essence equal to this, who owns the cross on the lintel of entry (Tesla original entry?) such (slight differences), together with some lisardos, I think they are symbols Arian. Are those crosses Arians symbols or mere decorative details that are passed from one culture to another and free of religious content?. Dudolo.