Hornet's nest capital; caliphal period, 19th century.

Hornet's nest capital; caliphal period, 19th century.
Carved limestone.
Measurements: 27 x 22 cm.
Capital decorated with an intricate aesthetic pattern that shows a certain horror vacui characteristic of Muslim art. The white marble in which it is made has been carved with the technique or work of trepanning, creating a series of small holes that give a pronounced chiaroscuro to the piece and for which this type of works are known as "wasp's nest" or "hornet's nest" capitals. As is usual in this typology, the schematization of the acanthus leaves in the lower zone, respond to a clear (although distant) influence of Roman models, especially those located in North Africa, territories through which the Umayyads conquered, being able to access Roman ruins and constructions in which they would be inspired, specifically, of the three classical orders, the examples of the composite or Corinthian. It should also be remembered that they are similar to those used in buildings as important and influential in other cultures as Hagia Sophia in Constantinople.
These capitals with deep atauriques are typical of Hispano-Muslim caliphate architecture, and examples similar to the present one can be found in Madinat al Zahra, in the Alhambra in Granada, etc., as others are also preserved in the Archaeological Museum of Cordoba, in the National Archaeological Museum of Madrid, in the Victoria & Albert Museum in London (this one apparently coming from Medina Azahara), in the Museum of Islamic Art of Doha in Qatar (also from Medina Azahara), in the Metropolitan Museum of New York, etc.
However, the present example is more reminiscent of the caliphal ones found in the porticoes of the Patio de la Casa de Contratación in Seville, this one being much simpler than the Seville ones, more detailed in its carving. And it can be more closely related to those of the tenth century of Madinat al-Zahra. It could also be related to some specimens from Cordoba (such as one from the middle of the 10th century of unknown provenance in the Archaeological Museum of Cordoba). The quality of the carving follows the classical line, although subordinated to a synthetic line. Through this type of specimens from the Emirate period it can be seen how the decorative schools of capitals made standard models that serve as an example for carving similar capitals with small variations. This system of work will be maintained in each Hispano-Muslim period, sometimes we can locate sculptors' workshops in which the master carver makes the model, as is the case of the specimen from the mosque of Cordoba, and the disciples and other members of the workshop make mere copies. There are no known examples of their use according to a preconceived order, as most of the capitals of this period are found in different places than those for which they were made.