Taifa of Córdoba

The Caliphate of Córdoba (Arabic: خلافة قرطبة; transliterated Khilāfat Qurṭuba), also known as the Cordoban Caliphate, was an Islamic state ruled by the Umayyad dynasty from 929 to 1031. Its territory comprised Iberia and parts of North Africa, with its capital in Córdoba. It succeeded the Emirate of Córdoba upon the self-proclamation of Umayyad emir Abd ar-Rahman III as caliph in January 929. The period was characterized by an expansion of trade and culture, and saw the construction of masterpieces of al-Andalus architecture. The caliphate disintegrated in the early 11th century during the Fitna of al-Andalus, a civil war between the descendants of caliph Hisham II and the successors of his hajib (court official), Al-Mansur. In 1031, after years of infighting, the caliphate fractured into a number of independent Muslim taifa (kingdoms).

The Arch of Isabel II (in Spanish el Arco de Isabel II) was an ephemeral triumphal arch, now disappeared, located in Córdoba, Spain. This commemorative monument was built in front of the old Puerta Nueva in 1862. The reason for its construction was to welcome the arrival of Queen Isabel II to the city of Cordoba, which took place on September 14, 1862. After the Queen's visit, the arch was abandoned and later dismantled.

Santa María Magdalena (St Mary Magdalene Church) is a church in Córdoba, Spain, built in the Mudejar style. It forms part of the Historic centre of Córdoba, a UNESCO World Heritage site, and is named after Jesus' companion, Mary Magdalene. The church of Santa Mariá Magdalena was one of the first of 12 churches Fernando III built after conquering Córdoba in 1236. Located in the prosperous neighbourhood of La Magdelena east of the city centre, it served as a model for later churches. It combines the Romanesque, Gothic and Mudejar styles of architecture. The main entrance is at the west end of the church below a rose window. The side door on the south side, the oldest in Córdoba, presents an alfiz with decorations of pointed diamonds. The 17th-century tower consists of sections which become narrower towards the top.While there is little documentary evidence of the history of the church, it is known that its construction was well advanced by the end of the 13th century. Over the years, the building has undergone several transformations. The sacristy is an addition from the early 16th century while plastered ceiling vaults were added in the 18th century, covering the medieval woodwork until they were recently removed.In 1990, the church was seriously damaged by fire. Thereafter it was no longer used as a church and was deconsecrated. Now owned by the Cajasur bank, it is a venue for concerts and other cultural events.

Convento de Santa Cruz is a convent situated in the historic centre, barrio de San Pedro, Córdoba, Andalusia, Spain. It was founded in 1435, by Pedro de los Ríos y Gutiérrez de Aguayo and his wife, Teresa Zurita. The building has always been closely linked to the Ríos family, which were adding new spaces to the original project, resulting in an interesting building composed of different structures organized around courtyards. It is notable for its originality, its architecture, and the artistic setting. These include the cloister, convent, church, house of the novices of the eighteenth century, and courtyard. In the main structure, there are architectural elements in Roman, Muslim, Moorish and baroque styles, which witness the historic and artistic development of Córdoba. The retablos which decorate the church interior, tiling, and paintings are of note. It was declared a Bien de Interés Cultural site in 2011.

San Pedro (St Peter) is a minor basilica in Córdoba, Spain. The church is located in the square of the barrio (quarter) bearing its name.

San Lorenzo is a church in Córdoba, Andalusia, southern Spain. Situated in the historic centre, it was one of the twelve religious buildings commissioned by king Ferdinand III of Castile in the city after its conquest in the early 13th century. The church occupies the site of a pre-existing Islamic mosque, which in turn had been built above a Visigothic church. It was built between around 1244 and 1300, in a transitional style between Romanesque and Gothic architecture. It has the typical structure of Andalusian churches of the period, featuring a rectangular plan with a nave and two aisles, without transept and an apse. It has a portico with three slightly ogival arcades, added in the 16th century. The Islamic minaret was converted into a Renaissance bell tower by Hernán Ruiz the Younger. Above the portico is the large Gothic-Mudéjar rose window. The nave has a coffered ceiling in Mudéjar-Renaissance style. The apse has 14th century paintings inspired by the Italian Gothic school, depicting Scenes of the Life of Jesus. There are also figures of saints and prophets with gilt halos, and a decoration imitating Byzantine azulejos. the high altar (17th century) has scenes of the life of St. Lawrence.

Axerquía was the historic eastern suburb of the Historic centre of Córdoba (known at the time to the Arabs as Medina and the Christians as Villa). The Axerquía areas was also walled. Currently, Axerquía is an area within the city of Córdoba in Spain.Courtyard houses of Axerquía was listed as one of 25 sites of the 2020 World Monuments Watch published by World Monuments Fund (WMF).

The Central District is one of the ten districts of Córdoba, Spain. it includes the central area of the city. The Central District is delimited to the west by Av. Del Corregidor, Av. Conde de Vallellano, Av. República Argentina and Av. Mozárabes. To the north, it is by Av. Of the Freedom and Av. To the Nasir; to the east by Av. Of the Almogávares, In the south of the roundabout of the same name, Ronda de Marrubial, Av. De Barcelona, Campo de San Antón and Campo Madre de Dios. To the south by Guadalquivir river in the corresponding section of Ronda de los Mártires, Paseo de la Ribera, Ronda de Isasa and Av. Del Alcázar.

The Fine Arts Museum of Córdoba (Spanish: Museo de Bellas Artes de Córdoba) is a State-owned art museum located in the Spanish city of Córdoba.

The Julio Romero de Torres Museum is a museum located in the city of Córdoba, Spain, which is notable for containing the largest collection of the famous Cordoban painter Julio Romero de Torres. It is located in the building of the old Hospital of la Caridad, which also houses the Museum of Fine Arts of Córdoba. The museum has been declared a Bien de Interés Cultural in the category of monument since 1962.

The Plaza del Potro is a public square in the Spanish city of Córdoba. Rectangular in shape, one end of the plaza has a fountain topped by the figure of a colt with its front legs raised holding a sign with the coat of arms of the city. This Renaissance-style fountain dates from 1577, and the colt which gives its name to the square was added a century later. Until 1847 was located on the opposite side of the plaza. Since 1924, the other end of the square has a monument dedicated to the Triumph of the archangel Raphael. Among the buildings overlooking the square is the famous Posada del Potro, mentioned by Cervantes in Don Quixote, in addition to the city's Museum of Fine Arts and the Museum Julio Romero de Torres. The reference in "Don Quixote" can be found in the Penguin Classics edition, translated by John D. Rutherford, in Chapter III as " ... Potro in Cordova ...", and in the Barnes & Noble edition, translated by Tobias Smollett, in Chapter III as " ... the spout of Cordoba ...". The much celebrated reference to the place and neighbourhood is made by an inn keeper making fun of Don Quixote with sarcastic chivalrous references to infamous brothels, disreputable districts and dens of iniquity.

The Convento de Santa Marta is a convent in Córdoba, Spain, on Calle de Santa Marta. Founded in 1464, it belongs to the female branch of the order Hieronymites.Architecturally, the convent was built in the "Reyes Católicos" style and is characterized by its quadrangular nave covered by cross vaults, which highlight the altarpiece, made in the year 1582. The arch gives access to the cloister from the gallery and the Marian images both date to the 15th century. The convent has a late-16th-century altarpiece by the sculptor Andres Ocampo and the painter Baltasar del Águila. The roof of the church is made up of vaults and the entire complex is enclosed within a short wall.