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Hello, everyone. Welcome to the fifth of the six lectures being given by the Slade Professor of Fine Art.

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The 2021. Some of you will know these lectures are an important tradition here at the University of Oxford.

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John Ruskin was the first to give a series of public lectures on art in the 1870s after being appointed as the initial slate professor of fine art.

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Every year, a distinguished scholar is asked to follow in his footsteps.

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My name is Geoffrey Bachem, and I'm professor of the history of art at the University of Oxford.

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It is my great pleasure to introduce this year's late professor, Dr. Geralyn Dodds.

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Jerry Dodds is Harlequin of Dead Diamond, Professor, Faculty of Art History at Sarah Lawrence College in the United States.

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Professor Dodd's scholarly work has centred on mediaeval, Spanish art and architecture,

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and especially on issues of trans colouration and identity formation.

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Amongst the many publications are arts of intimacy, Christians, Jews and Muslims in the making of Castilian culture.

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A renowned co-authored textbook. In addition to her other books, catalogues and essays,

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Jerry has also curated a number of important exhibitions and made informative films to accompany the.

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In 2018, in recognition of her exceptional contributions to the dissemination of knowledge of Spanish history and culture, Prof.

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Dodds was the recipient of the Cross of the Order of Civil Merit from the Government of Spain.

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We are honoured the Professor Dodds accepted our invitation to deliver this year's slate

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professor of fine art lectures and are now happily hand over the microphone to her.

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Thank you yet again, Professor, batching for your exceedingly kind words.

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My great thanks to the Committee for the Slade lectures for this honour,

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for the support of the Department of Art History and to Liz Green and Holly Nights and the Amazing Torch Team.

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Alphonso, the 10th of Castile, is called El Sabeel, which ought to be translated more the learnt than the wise.

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He's celebrated, above all for his extraordinary cultural project the construction of an ideal law code,

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the CFA Partidos Historical Chronicles that drew on an erudite breadth of sources and languages.

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And he promoted the translation of texts with the notion of creating for Castiel, an elite secular culture in Castilian.

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His translation project included mirrors for Prince's books on hunting the Koran,

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the Talmud, the Talmud and the Kabbalah, and above all, scientific texts, in particular,

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Arabic treatise not just translated but scientifically verified and updated because translation was also transformation,

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not simply the reproduction of a text in another language, but also the transmission of knowledge.

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The attention given by Alphonsus movement to Arabic learning is sometimes interpreted as part of a culture of inclusion.

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But for Alfonso, this was the recuperation of a continuum of the knowledge into the cosmic dominion of the Christian intellectual tradition,

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a kind of intellectual piece. The translation became part of EMPICS words Christian expansion and self-definition.

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It was then appropriate to part of Alfonso's cultural imperialism in a way, an intellectual manifestation of a political goal.

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He was not ultimately entirely capable of implementing in his world.

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So when we see this much reproduced image of musicians from Alfonso's contiguous, often interpreted as a Christian and a Muslim,

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although it's racial stereotypes are contextually more complex as I hope we'll see.

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We should not be beguiled into thinking it's so much a poster for a sentimentalised confessional convention as it is one for a pacified,

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expropriated cultural colonialism.

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Very dear to Alphonsus heart, and a lively extension of the same policy was yet another cultural enterprise of tremendous scope.

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But Candiace de Santamaria, a book of 419 songs assembled around the last two decades of his life.

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It was written in mediaeval, Galicia in Portuguese and evolved literary language already in his time associated with love songs.

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Alfonso was an accomplished troubadour poet himself.

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You see him here dictating to two scribes, a secular musicians and monastic singers wait in the wings.

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Indeed, he was formulated the collection and composed some of the poems, creating a persona for himself that he draws through the entire collection.

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In his introductory poem, he announces. Not which I seek is to praise the Virgin mother of our lord, Holy Mary, the most wondrous of his creations.

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Therefore, from this day forth, I hope I wish to be her troubadour.

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And I pray that she will have me. Hence, from now on, I sing for no other lady.

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So throughout these over 400 songs, Alphonso will take on the persona of the Virgin's troubadour in the language of courtly love.

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And in the language of courtly love, he will negotiate these same imperial ambitions with her.

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So today I'd like to talk about the country in honour of the Virgin's miracle in the city of Murcia.

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What is sometimes called the the US and cantina is particularly compelling because Alfonso tells it himself

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in the first person and it directly expresses his personal experience in that extraordinary colonial city.

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I shall tell a great miracle, he says, which I saw when God granted me mercy.

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The miracle happened to an ancient church of the peerless queen, which stood there in the district of La Vishakha.

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The moors had no power to do any harm, whatever in that holy place, nor to remove the church from there, although it lay in their domain.

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The candidate presents Alphonso and us with a colonial dilemma.

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The city's Muslims have asked that a church be removed from a part of the city, which by treaty was theirs.

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Can a Christian monarch countenance the destruction of a church, though he has made such a pact in the miniatures of this codex from the Esquibel?

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The story begins with an image of the Church of the Virgin in the suburb of Villa Abbey.

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Shuka, with its exterior colour, will cut away so that the cult image of the virgin within is visible.

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Seated on a high altar that seems more like a throne covered in textiles.

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The actual image is still venerated today, a very restored version of the 12th or 13th century version,

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Virgin of Added Sugar is believed to have been brought to the city at its conquest.

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And you can see how the artist of the year has captured the way she leans forward a bit sheltering the Christ child in her lap.

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She's a throne of wisdom, say disappear into a late version of a Romanesque type.

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Her antiquity, now in the 13th century, proclaiming her authority, as well as the historical veracity of the digger.

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Not at all. A painter's convention since virgins in the country does tend to be elegant gothic mothers and queens.

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The miniature of the virgin within the church at the heart of the city appears twice on the page.

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Standing Sentry to the contained agitation of the rest of the story.

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She's one with the building in her archaic form and identification with the church.

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Remind us that she transcends changes in rule that mere humans have in the words of the country.

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No power to do any harm, whatever in that holy place. So the urban and historical context deserve, I think, some explanation.

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Alphonsus father Ferdinand,

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the third of Castile and Leon seising on the almost dynastic weaknesses had made conquest that would transform the face of the peninsula,

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taking the great plural cities of Andalusia, Lubega in 12:33,

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Cordoba in 12:36 and finally Seville in 12:48,

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acquiring not only client states that paid tribute but also new lands whose exploitation

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required a different economic model direct colonial intervention bringing lively,

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diverse populations. But beneath the Castilian Lebanese banner, he expelled Muslims from Cordoba,

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hoping to repopulate the city with Christians with very questionable success.

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So a different strategy was attempted in the ancient stronghold of Moorthy, taken in 12:43.

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We've touched on more often in these lectures. It's one of those places at times neglected because it seems peripheral to the to the

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seemingly clearer conflictual dramas caused by the great North African dynasties.

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The and it's an. We saw the transition of this border territory from busy gothic to amide rule under the Treaty of Woodmere,

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which allowed the survival and abandonment of a church as it became a Muslim polity.

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And in the 12th century, as the former capital of the Wolf King, it would Dornish,

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whose material culture had such an impact on Toledo and and on its Iberia's monetary system.

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At his death, mercy would fall into the hands of the Alamo hordes.

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And after their demise would be governed by a to Wahkeel even Hood, another charismatic,

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independent Muslim ruler who like you'd been Madonna's fabricated and Iberian Islamic identity in defiance of North African regimes.

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This made Morsi a place at once Islamic and ardently Iberian, though not in neighbourhoods.

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Time terror, terribly powerful like you've been, Madonna.

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Even Hood was, by necessity, an occasional Castilian client, an ally,

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which meant that he could be celebrated with approbation in the 13th century by Archbishop Rodrigo himIn as they gather as the ruler who quote,

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cut off all the heads of the Alamo hordes he could find and quote, and who, interestingly, when he took the Alamo Heights towns.

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And I quote Rodrigo here, considering that all the mosques were infected by the presence of the Alamo huts,

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even who had had his priests purify them, sprinkling water.

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Now, for Rodrigo's very Christian readers,

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this was also a familiar scene because it sounded very much like a Christian purification and conversion, complete with priests.

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And it echoed a trope seeded throughout his accounts of the Castilian colonial triumphs of

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Christian ceremonies of purification and consecration of former mosques into churches.

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In his triumphant account of the conquest and conversion of the Great Mosque of Cordoba, for instance, Rodrigo declares quote,

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Once the filth of Muhammad had been removed, it was sprinkled with holy water purification and converted into a church.

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In Become a Tent actually claimed that the Democrats were heretics,

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a concept that played well in Rodrigo's manipulated history as it keep the archbishop licence to develop an analogy with Christian

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practise that would not have been at all possible had anyone who had instead purified a church for conversion to a mosque.

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Connecting these passages regarding Cordoba and Mercia, Rodrigo made a place for this mythologised urban hood,

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a Muslim who was a Castilian ally, the enemy of his enemy.

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In his utopian vision of a Christian ruled world. But this was an evanescent image that was about to change.

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For the purification is the first and most essential component of the conversion ritual asserting separate confessional identities.

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The body of a converted mosque, even a converted one like the great mosques of Toledo or Cordoba, consciously and continuously,

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not consciously continuously re-enacted the impossibility of separate visual identities in a plural polis polity, as Cordoba still does today.

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One cannot entirely control the effects of the material discourse.

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So also the mosque become a cathedral of Toledo,

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bore abiding witness to the diffusion of forms and their ongoing semantic transfer transformation in a Christian world.

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The subject of Rodrigo's trope linking his world to neighbourhoods is purification, and it summons its mirror image contamination.

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Revealing all of the anxiety of that frontier breached the tenuous ness of such a

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web of order drawn over the unstable and chaotic colonisation of all underoos.

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And that connects perhaps to White Toledo's cathedral, still wrapped in the appropriated body of its former mosque,

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was now in the process of being converted to a gothic building.

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And thanks to Tom Nixon for his reconstruction of that process in 144 BIRISI sees a surge in Gothic building in the 13th century.

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As a way, it was possible for northern cities that we're now far from the frontier to militate.

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And indeed, James, the first, famously attempted to motivate his Sea of West in going to replace its mosque building with a gothic one to build,

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in his words, an honest cathedral in a Christian style.

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And so. Archbishop Rodrigue of Minnesota rather recounts in 12:26, the King and the Archbishop,

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Rodrigo placed the first stone of the Cathedral of Toledo that still conserve the form of a mosque since the time of the Arabs.

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We are moving, perhaps from a habit of trance culture to its erasure in the confessional realm.

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In 2043, as the transformation of the Moscow Cathedral of Toledo was underway, even Hood's son,

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Muhammad had been hood surrendered the city of Mercia to the young son, to the young Prince Alfonso, and became a semi-independent vassal.

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Fernandez Kingdom of Castile Hill, Murcia, a vibrant Islamic city of a proud Islamic territory,

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had not been depopulated as Cordoba had it retained its local king as the Castilian Army took charge of its castles and defence.

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But political, religious and economic affairs at first remained almost untouched.

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In this early conflation of feudalism and colonial dominion, Castiel's Muslim clients were far from quiescent,

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but they were essential for the continuation of agricultural and mercantile economy,

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without which it would have been impossible to hold lands and realise much needed revenue.

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Here, Prince Alfonso came into contact with the famous madrassa of Ibn Abubakar Rackety, who Alphonso?

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Very likely, where Alphonso very likely learnt Arabic,

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and he nurtured a religiously and linguistically diverse scholarly community that would provide a model for his intellectual enterprises to come.

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The worse the country. Frames the story of its miracle within Alfonso's life following over 20 years of his relationship with the city.

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He appears first as a prince wearing not a crown, but the Beretta.

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And you can see here the Beretta of his oldest son, Fernando Little, who died in twelve seventy five and he's looking for all the world.

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Like the young Alexander, in whom he was deeply interested this in a later 14th century, drawing from the lead,

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the Alexander like Alexander, he was a ruler who from his youth governed to territory much larger than that to which he had been born.

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One with multiple languages, cultures and confessions. And so I think here in part, he's constructing his own heroic narrative,

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beginning with his time in Murcia, in the 40s, just after his father had concluded the treaty cut off.

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He recounts in The Contigo that although many times the Moors begged me to have the church removed,

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showing me it would be a good thing if they did and their request was granted, it availed them nothing.

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The image of Alphonso, as the prince depicts, depicts an orderly society in which submitted Muslims petition the solver from a position of mutually

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acknowledged subjugation in framed beneath one arch of a gothic arcade coming to many of the country August.

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Alphonso is both part of the narrative,

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the culmination of the attention of a group of kneeling Muslims and also fronted a frontal iconic seated ruler.

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His gesture of acquiescence underscores the fulfilment of the pact between the Muslims and the Christian

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Lord supporting their petition to destroy the Church of the Virgin as it quote lay in their domain.

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He's pictured as the just and pragmatic prince who understands that the productive into

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interaction of peoples in a colonial setting demands binding obligation to his promises.

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Despite the fact that the protagonists are not Christians, a prince governed by a dedication to justice.

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But there is in the impressively authoritative language of the composition,

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a sense of unease that we might read in the Prince's Frontal juxtaposed with the constrained kneeling not of Muslims in profile.

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Well, Alfonso is inflamed and unimpeded. The Muslims compressed collected is bisected by a column so that they seem suddenly caged.

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And one figure actually holds on to the column as if it were not a compositional convention, but physical bars by which they were restrained.

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This marks both the artistic and social confines within which Muslims must move in this representation of uncontested control.

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By contrast, even the Castilian guards and courtiers behind them are relaxed and unimpeded.

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It is an image of visual control that recalls Harvey's analysis of one of the meanings of mood they are domesticated.

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Indeed, when the historical Alfonso assumed the throne in 12:52, he would move to exert personal control within his protectorate of Morsi,

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granting land to Christian settlers in violation of the Treaty of Ankara, which his father had made with with his mercy and clients.

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This transgression would not be forgotten. In 12 64, an uprising of submitted Muslims throughout Andalucia erupted in Murcia as well,

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in part through the stimulus of another futile client of Alfonso's Mohammed,

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the first even Al Ahmar, the ruler of the Emirate of Granada and founder of the Nasser Dynasty.

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But it was equally a response to Alphonsus gradual destabilisation of Castiel's treaty with more students.

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In particular, the redistribution of Morsi lands to Christian settlers in an effort to tip the confessional balance.

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The revolt was put down in 12 66 by Alphonsus father in law King James of Aragon on

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behalf of Alfonso and in the interest of the security of his own bordering lands.

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In a new agreement with more Muslims, James, who had more experience in maintaining such colonial relationships,

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granted them a number of the rights they requested. They could retain their goods, practise their religion,

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give the call to prayer and be judged by their own courts or concessions conceded in James's desire to return more.

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Created the main mosque of the city, dedicating it to the Virgin.

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Chronicling the number of mosques converted to cathedrals dedicated to Mary Amy Reid, insider laments that Santiago Metamorphose St. James,

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the More Slayer seems to occupy the imagination of scholars so, so exclusively, while the Virgin is really the most active of colonial conquerors.

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What one might go on to differentiate these two sacred conquerors in this particular country.

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While St. James will be depicted as a military leader in polarised opposition to the Muslims whose bodies lie at his horse's feet,

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the Virgin's position here is more ambivalent. She's a conqueror, to be sure, as Raymond Snyder has amply shown, but she's a more subtle strategist.

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And this is perhaps why she's called into action in this complex moment in the conquest of Arab rule politics.

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James of Aragon himself recounts how Morsy's principal mosque was appropriated during the negotiations for the surrender of the city after mass.

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We climbed up to the castle and he, the Wazir, was with us and five of the chief Saracens of the city.

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We said that the mosque near to the castle should belong to the Christians, but they said that would not be right for the treaty,

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said they were to have their mosques and keep them just as in Seretse and times, we said that was correct.

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But they did not understand we wanted them to keep their mosques. But what were the Christians to do?

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They had no church to go to.

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And the church should be at the castle gate for us to be able to hear them always and right by our heads every night while we were asleep.

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Is if you think about it not fitting, you have two mosques in the city.

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Pray in them and leave us this one. They said they agreed.

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It's questionable whether they have a choice. They had lost the terms of their original treaty in their revolt.

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It is then interesting that James, with both the muscle and legality square in his court,

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still felt the need to belabour this appropriation in his account.

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Well, the idea of a protected Christian minority is inscribed in Islamic law.

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Contemporary Christianity viewed pluralism largely as an unsustainable state.

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The accommodation of challenge to the notion that Christianity holds uncontested truths so

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that the existence of mosques in the protectorate was theologically dangerous terrain.

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While the creation of churches was essential to perform confessional transcendence in a plural city under the rule of Christians,

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James, his comment that really didn't make sense for him to have to hear the call to prayer is delivered with a certain swagger.

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And it has a history. It echoes a venerable trope reminiscent of the writing writings of 19th century Christians who complained

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bitterly about the call to prayer while the images assiduously controlled the ringing of bells in churches.

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In one of his devastating northern raids, around 1000 a monster was said to have taken the bells from the Church of Santiago de Compostela to Cordoba,

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where they were deprived of their Clapper's, silencing them to be used as scaffolds for lamps in court of his great mosque.

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This practise was continued by Alma Robbins, Elmo Hearts and Marinades,

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which is why we find bills from Spanish churches fanned fat fashioned into lamps in the kind of wheat and mosque in Fez and why.

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If we're to believe Lucas of Tui Alphonsus, father of Ferdinand, the third when he conquered Cordoba in 12:36,

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sent Cordoba Bill Lamps all the way back to the Church of St. James of Compostela on the shoulders of Saracens,

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continuing a dialogue that had reverberated on both sides of the confessional divide for centuries.

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And when this St James of Aragon to Valencia, the poet Ibn Almeida, John Toland reminds us,

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lamented that in his city, the whole of the moisten would be replaced by the sound of bells.

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So, James, this directive is a trope and a taunt that whereas before Morsi and Muslims had been able to

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control this space and it sounds they would now forfeit aural control of the city is rubbing it,

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it is rubbing it in. And he's also documenting his relief for those colonial rulers might countenance

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the presence of Muslims in their need to conjure uninterrupted economies.

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There was significant anxiety hidden in the appropriation of urban fabrics in which Muslims

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outnumbered Christians and possessed by treaty the right to their own religious monuments,

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the right to a material and oral manifestation of Islam in a Christian city.

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And yet religious belief was not simply the symbolic terms in which a game of political were not mateship was enacted.

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It's also good to remember that this is the same game so full of bravado who wrote about his personal

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feeling when he mounted an altar to the Virgin in the same newly converted mosque in Murcia.

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We heard it in the first lecture, but allow me to repeat it again.

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It was in Murcia that the great conquered declared embracing the altar we sweat,

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we wept so strongly and so heartily that for the time it takes to go a mile, we could not stop crying.

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The poly semi of conversion is not just about the body of the mosque converted to a church.

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It is also about the violent colonial project infused with deep belief.

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As King Alfonso, the 10th surely equal in face to James, if not in administrative skill,

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as soon as he took control of the city from his father in law,

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he revoked James's orders regarding many of the Morsy and Muslims rights, expelling them from the Medina to the suburb of La,

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the Shuka hoping to effect the repopulation of the city centre with Christians.

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This, in closing and controlling of the population,

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was not as practical for social stability and economic continuity as the arrogant street treaty of James had been.

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And indeed, the city became restive. Mercy has submitted Muslims would, in the end, still outnumber civilians, agonies and cowardly Catalan settlers,

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a colonial environment in which Byrne's remarks and overgrazed of Christian

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settlers uneasily governed the conquered but restless Muslim minority majority,

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a condition that made political stability fragile and left a ravaged economy.

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But of course, Alfonso would tell a far different story in his retrospective targeting of the action

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of the next frame occurred over 20 years after the image of Alfonso as Prince,

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and yet the Mursi and Muslims are still frozen in the same kneeling posture, suspended in time in identical subjugation.

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As if to assuage that demographic anxiety here, the Muslims are shown petitioning King James,

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the first of Eragon following the uprising of twelve sixty four.

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When quote the moors rebelled from Mercia to civil in quote,

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the cantata bypasses the complexities of the governance of Murcia following the rebellion,

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recounting only that James quote made the cathedral out of the Great Mosque,

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fixating on the theme of this particular contigo, which is confessional real estate,

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the Morsy and Muslims ask again permission to have the Church of the Virgin removed.

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To the suburb to which they've now been confined.

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And yet, miraculously, although he can said it's consented to it, they could not touch a single nail of it.

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Alphonso, the tenth now Crown is king, also acquiesces in the next panel.

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The candidate does not record his repudiation of James's pact with the Muslims

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or the forced forced exile of the Muslim community to the suburb of Shocker,

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called here their domain. These appear as stable a historical circumstances within the entire discourse

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of the contigo in each of these images of Muslims supplicants before king.

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The Christian rulers embody a kind of timeless authority, while these historical Muslims subjugated,

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constrained and in profile in potential movement or evanescent.

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And yet, so the images are formulaic.

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Alphonsus written account is really quite personal for this moment, which falls during the years in which the canting us were written, he writes.

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After this, it happened that I went to Morsi. And most of the Muslim community ask me to remove the church from their midst.

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But I was loath to do so for it had been freshly painted.

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However, very reluctantly, I granted their request. The juxtaposition of personal,

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even anecdotal experience it happened that I went to Morsi and it had just been freshly painted in the text with the recurrence of the formal,

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authoritative compositions of the miniatures marks Alfonso's attempt to reconceive his legacy as a just monarch.

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And yet Alfonso had, in reality not upheld either.

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Castiel's original pact with the Muslims were those made by James, and his attempt at population had greatly faltered.

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We can read a kind of. Slippage in the framing miniatures of the Virgin in her church,

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a visual echo of the dilemma of the Morsy and Muslims in the face of this myth of order and control,

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the compact urban fabric ringed tightly by Crennel needed walls is made more dense and impenetrable

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by skewed roof lines and overlapping forms redolent of the constricted circumstances of the Muslims.

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A hint of empathy at the reduced circumstances.

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Their justification for wishing to remove the church, which had attracted Christians from beyond the peninsula.

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Indeed, by the resettlement of 12 72,

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Morsi and Muslims lived in less than half the area they had previously possessed under the treaty accorded to them.

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By James N12 66.

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But then the same image also depicts the Virgins Church in the embrace of this compressed and displaced community of Muslims that had lost homes,

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property and its own mosque. It envisions, as the triumphal text cannot, twin colonial dilemmas posed by the resettlement of Morsi,

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the subaltern sequestration and the colonists anxiety in the face of their numbers and in fear of another revolt.

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And thus the panel of ministers repeats its visual taboos like an incantation for the subjugation and control of Muslims,

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one in which the scale of the church and the version herself create a mythic vision of control.

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That control was increasingly impossible as Morsi and Muslims were relegated to a sliver of land beyond the walls of the Medina,

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Alfonso's Roman law called the of Martina's, which was never enacted in his lifetime,

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proclaims quite clearly that quote more shall not have mosques in Christian towns.

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The mosque, which they formerly possessed, shall belong to the king and he can give them to whomsoever he wishes.

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And indeed, after the rebellion of the Horace, Alfonso conceded all the mosques that remained in the medina of Murcia to Christian settlers.

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But the Moorthy, a cantina, drives home the paradox that belies the regal ideal.

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The Castilian colonial project required the maintenance of a pacified indigenous

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population of an alternate faith in direct contradiction to a utopian Christian hegemony,

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which, unlike Islam, admits no alternative faiths.

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The final miniature of prostrated Muslims before a leader is structured by the same gothic arches, they are, on one hand, palatial.

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But we begin to understand that they also signified the consistent structure of the Law of Castilian land

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use rule in a frame emblazoned with the arms of Leone and Castiel beneath the scaffold of that law,

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the knees that kneeling Muslims make their pleas before their local authority, their own King Alfonso's vassal in the twelve sixties.

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The text tells us that Alfonso had given them permission to destroy the Church of La Vishakha,

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and then the community applied to their own authority to bring this about all the Muslim community,

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the text reads, went to the Muslim king to ask him to have it done.

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But he said, I will not for money on deals severely with those who displease or.

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The Muslims of Malaysia wisely sold Alfonso's delicate problem how to stabilise and rule a multi confessional community by law.

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And at the same time serves the needs of the church, which cannot be held to terms of compromise as regards alternative faiths.

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The Virgin, apparently understanding Alphonsus Dilemma, intervened to re-establish cosmic order where it is needed.

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Alphonso was certainly aware of the inclusion of the Virgin in the Koran and of Muslim participation in certain type types of adoration of the Virgin.

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But the Muslim leader of the Muslim community, who says I will not for Mariam deals severely with those who displease her,

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is rather acknowledging the Virgin's power as a frontier authority as a colonial Muslim of Castilian desire.

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He recognises her sovereignty. He sits beneath a single arch of the arcade.

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But unlike Alphonso and James, he sits in three quarter view on a chair post on a dais,

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a device that allows the painter to diminish the iconic implications of the frontal presentation of the Christian Kings.

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And our gaze doesn't rest on the Muslim leader, but his deflected heavenward by his appointed by his pointing finger.

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He is like the other Muslims, more in profile, his authority contingent on his actions and ultimately pleading.

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And then this panel reverses the direction of the other images, so we must read it from right to left as if it were an Arabic text.

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Amongst the many ways in which this reversal works in the language of the composition

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is to remind us that this miniature depicts a different language of law,

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one to which Christians are not subject, but that nevertheless falls within the dazzling breadth of the Virgin's authority.

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It reveals the third space the transcultural tive world within which Alphonsus must control the propaganda machines work.

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Alfonso's cultural project endeavours to sweep every hint of ambivalence into the folds

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of the Virgin's cloak to make all a purposeful part of her increasingly complex cosmos.

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Because the actual world was not in the consistent ordered that the miniature and the country would like us to suppose,

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there is an urgency here to create images of subtly defined hierarchies that visually perform separateness

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control of the boundaries between Christians and Muslims in the midst of their uneasy coexistence.

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But encased in that inverted composition is a palimpsest of ambivalence and some anxiety.

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There are, on one hand, a canned tiger and a miniature that assume a common recognition of how the Arabic language is read and deploys.

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This meaning that betrays an understanding of the workings of local Muslim government

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of the diverse legal positions that a Muslim might hold in Christian society,

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and an understanding that Muslims are a necessary part of this colonial state.

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They further acknowledge is within the possible order of things a situation in a colonial city in which

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a church might be destroyed in a Muslim neighbourhood despite uncontested tested Christian identity.

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The image attempts to contain these colonial contradictions in an orderly structure, but they are so tightly packed,

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so disciplined and contained that they betray [INAUDIBLE] in the armour of the Castilian, its actual ability to successfully colonise the city.

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In another of Alfonso's First-Person accounts,

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is the story told in multiple Candiace of his acquisition of a much desired Port AU Kinuthia or a canopy in the country to obtain,

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of course, in violation of his pact with the Muslims of her is a fact predictably obscured by the text.

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In one country, a powerful Muslim official in Gaza complained that Christians were calling the

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town by the name of Puerto de Santamaria in contravention of their treaty.

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It must have sounded to him as if the Virgin were preparing an offensive, which indeed she was the name of this.

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Antigua is, after all, how Holy Mary took a place for herself in the Kingdom of Seville and called it where today Santa Maria,

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as in the Mausi and Antigua Alfonso goes to great lengths to uphold his pact,

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even violently punishing Christians who use this forbidden new Marian name.

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But in the end, under the persuasive influence of the Virgin,

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the Uggla Thiel yields both the city and its name quote to secure peace in the land, unquote.

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Here again, docile and wise Muslims yield rights and transgress their own boundaries in the name of peace.

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This laundered forensic history is also intimately intertwined with the miracles surrounding the creation of a new church in three of the US.

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The vision helps a Mason M. Ali find a cache of stone when materials are needed.

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She creates a flood that brings wood to the very construction site and saves workers from a falling tower during construction.

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But the cycle in no place states what archaeology has taught us that this church in what is today the Castillo de San Marcos?

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Was built within a converted mosque, a blue wall marked by a rob was covered beneath plaster,

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while the church arcades Reeves Bollea appropriated from the mosque's prayer hall arcades.

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The country of Puerto de Santa Maria are entirely mute regarding the conversion,

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but they betray substantial slippage as regards the connexion of the church to

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the mosque that was there before the falling tower of twenty three sixty four.

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Many agree, must have been the minaret of the mosque and the Mason M. Ali, with the president's common to good Muslims in the country,

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has quote realised that the Virgin had kept those stones like a treasure, although he was more in the miraculous stones themselves.

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Quote found just like that under the Earth,

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good sized and neatly squared already quote hover like the inter textual spectres of a pre-existing building wilfully

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erased transmuted from a mosque into a miracle but still haunting the construction of the Church of the Virgin.

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Alphonso was not interested in this late literary fashioning of his legacy in

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being known for converting mosque buildings into churches as his father had,

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as Rodrigo recounted. He wished to be known for making churches a new.

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I wanted to not begrudge James the conversion of the Great Mosque of Mercia.

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He wished to, as the yet departed us proclaims, make churches where they had not been any within these gothic arcades.

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He sought to obscure the ambivalence of conversion in a dream of containment any reason.

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And for this, he increasingly must rely on the Virgin to manage the impossible twin agendas

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of colonial conquest and the cosmic expectations of the domain of Christ.

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The final minute you're in Canada, 169 is a kind of postscript to the bulk of the story in barricaded in the dense walls and towers we see.

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Caricatured black heads and arms bristling with the tools needed to dismantle the virgins church behind them or three

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turban light complexioned Muslims like the Morsy and Muslims of the preceding miniatures who watch the proceedings.

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The figures of the attackers are subsumed by the architecture of the scene as

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if to depict their apparent insignificance in the face of the towering church.

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The text continues later when Abu Yusuf, Lord of Saleh, passed by with a great army.

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The most thought to take Mercia by trickery in order to exalt their faith, however,

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the Holy Virgin undid their treacherous plot and she drove them out of their.

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Therefore, now her church is free for never can Mohammed hold power there because she conquered it,

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and furthermore, she will conquer Spain and Morocco and say no to an asylum.

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This final image is set at the time of the myriad invasions of Andalusia in 2005 and the blackened

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complexion caricatures embedded in the city fabric or types for these foreign non Spanish Muslims.

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The Pentagon does not state that the troops of abusive came to Murcia or attempted to dismantle the church,

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but the painter seises on the idea as a way of picturing their impotence in the face of the Virgin's power.

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It's impossible. It's not. It's possible. It's possible that the miniaturise is unclear which Muslims sought to take or by trickery.

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The Morsi and Muslims or the marine ants. But the artist nevertheless goes to great pains to distinguish between the two groups,

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the dark complexioned figures with pickaxes and the turban light complexion, Morsi and Muslims behind them, although their complicity is implied.

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What is most interesting is their limited quality neither participating in the attempted

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destruction of the church nor maintaining a salubrious distance from the marine invaders.

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The painter sees their dilemma and expresses it in terms of race and dress.

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They are neither foreigners nor Christians. They are the famous Morsi and Muslims, once independent Castilian allies.

379
00:43:38,180 --> 00:43:49,070
Now sadly contingent and vulnerable, inhabiting a third space for which there will soon be no real place in Iberia that of Iberian Muslim.

380
00:43:49,070 --> 00:43:53,510
The sculpture of the Virgin gives material credence to this miracle that took

381
00:43:53,510 --> 00:43:57,800
place scarcely more than a decade before the composition of this country.

382
00:43:57,800 --> 00:44:02,660
The Canticle was perhaps meant to reassure Christian settlers that there were appropriated land

383
00:44:02,660 --> 00:44:08,720
was under control while Muslims were trapped in a splinter of territory beyond their walls.

384
00:44:08,720 --> 00:44:13,610
The Contigo reminded them that they could depend on the virgin to bridge the divide

385
00:44:13,610 --> 00:44:18,860
between life on the frontier and the cosmic expectations of sacred history.

386
00:44:18,860 --> 00:44:26,870
For who else but the virgin can compel Muslim vessels Mercy and Siberians for over 500 years to suppress their own interests,

387
00:44:26,870 --> 00:44:33,980
subvert their own agency in the ultimate interest of a peace one at the price of their own erasure.

388
00:44:33,980 --> 00:45:20,008
Thank you.