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1. According to legend, one of the architects exclaimed "Let us build a church so grand that the world will think us mad men!" While no historical documentation has been made apparent, all guide books for Sevilla quote this sentence when describing the Sevilla Cathedral.
Sevilla Cathedral
1. Luis Martínez Montiel and Alfredo J. Morales. The Cathedral of Seville. London: Scala Publishers, 1999, 8-16. This is a general overview of the history of the building of the Cathedral, including some of the objects from the treasury currently on display.
2. Karen Rose Matthews. “Expressing Political Legitimacy and Cultural Identity through the Use of Spolia on the Ambo of Henry II.” Medieval Encounters 5, no. 2 (1999): 156-183. This article is not dealing with Andalusian art in particular, however the same use of spolia can be applied here. Through the utlization of the local visual culture, a new ruling group can create its legitimacy through using the visual language that the people are familiar with. Therefore, the people should feel more comfortable with the rule and recognize their power as the new rulers use the known symbols of power. Not only is the visual language used, but the physical remains of the past rulers, and their symbols of power.
3. Linda Padhi, "Cultural hybridity within the Sevilla Cathedral choir" (Masters Thesis, in progress, Tufts University, 2005). Also see the articles by Isabel Mateo Gomez below for interpretations on some Sevilla choirstalls. The Gothic Choirstalls of Spain by Kraus goes through various choirs in Spain, mentioning broader themes as the book goes on.
Cordoba Mosque and Cathedral
1. Simon Barton, A History of Spain. New York: Palgrave MacMillan, 2004, 27. This is a general history of Spain, from its Visigothic roots to the 20th century.
2. "Córdoba, Mosque-Cathedral of." Encyclopædia Britannica. 2005. Encyclopædia Britannica Premium Service. December 11, 2005 <http://www.britannica.com/eb/article-9026272>.
1. D. Fairchild Ruggles, “The Alcazar of Seville and Mudejar Architecture.” Gesta 43, no. 2 (2004): 87.
2. Ibid. 89, 95.
3. Ibid. 91.
4. Ibid. 90-92.
Vegetal
1. Francisco Prado-Vilar. "Circular Visions of Fertility and Punishment: Caliphal Ivory Caskets from al-Andalus," Muqarnas 14(1997): 19, 20.
2. Ibid, 29.
3. Richard Ettinghausen, et al, ed. Islamic Art and Architecture, 650-1250. New Haven: Yale University Press, 2001, 19.
Geometric
1. Richard Ettinghausen, et al, ed. Islamic Art and Architecture, 650-1250. New Haven: Yale University Press, 2001, 279-80.
2. Ibid 288.
3. Linda Padhi, "Cultural hybridity within the Sevilla Cathedral choir" (Masters Thesis, in progress, Tufts University, 2005). For more on astrological symbols in Islamic/Christian art, see Eva Baer, Sphinxes and Harpies in Medieval Islamic Art: an Iconographical Study. Jerusalem: The Israel Oriental Society, 1965.
Calligraphic
1. Erica C. Dodd. "The Image of the Word." Berytus 18(1969): 48.
2. Eva R. Hoffman. "Pathways of Portability:Islamic and Christian Interchange from the tenth to the twelfth century.” Art History 24, no. 1 (2001): 21.
Timeline
For a general overview of Spanish history, from before and after the scope of this website, see Simon Barton, A History of Spain. Jerrilyn Dodd's catalog, Al-Andalus: The Art of Islamic Spain provides a thorough look at Islamic art in Spain. Also, for a history of Islamic art outside of Spain, see Robert Irwin, Islamic Art in Context.