Citadel of Aleppo

The citadel of Aleppo, whose purpose was military, is characteristic of Medieval Islamic military architecture, which was found especially in Syria at the time of the Crusades. It also housed the seat of political power. Oval in shape, it is particularly imposing with its fortifications punctuated by defensive towers, the single gate and its semi-artificial mound which was once paved all over. It is naturally in a prominent position, on a hill which has served as a strategic position for millennia[1].

The first period of construction was in the tenth century[2], but the current appearance of the citadel dates for the most part from the construction that took place at the time of the Crusades, from the 12th century onwards. Indeed, during this troubled period, the struggle between the Latin States settled in the Levant and Islamic forces represented in the region by the Zangids and then the Ayyubids, sizeable construction and renovation programmes were undertaken. For this reason numerous fortifications were built or substantially renovated (Cairo, Damascus, Aleppo and Bosra). There is a difference between the citadels with a purely defensive role, sited on hill-tops or river banks, and the urban citadels, which also housed the seat of power.

The reconstruction of the early fortress dates from Nûr al-Dîn’s campaign, and it was then that the tomb associated with the prophet Abraham, Maqâm Ibrâhîm, was built within the walls of the citadel.

It was during the reign of al-Malik al-Zâhir Ghâzî, Saladin’s son, that the largest works were completed. From the defensive and military point of view, the deep moats were enlarged and the steep stone glacis (slanting stone foundations at the base of the walls) reputed to be unassailable, were reinforced by sections of ancient column shafts[3] put in to place on the hillside. This technique, which was characteristic of Northern Syria, was also used at Bosra and for the walls of Cairo[4]. The walls and the towers were strengthened, enlarged and rebuilt in line with the new military requirements: ramparts, arrow slits, battlements and machicolations (‘murder holes’). In 1213 the construction of the sole and immense gatehouse of the citadel was ordered, protected by a projecting tower and a bridge with eight arches. The gatehouse is decorated with epigraphic bands, rosettes and frames in ablaq (alternating course of light and dark masonry); the first gate has two interlaced dragons which is a recurrent theme from the start of the Seljuk period, which spread from Iran to Iraq and Anatolia[5]. The interior of the citadel was accessible by a ramp with a bend in it and two gates decorated with lions and flanked by a lookout post. This type of arrangement, like the principle of the glacis, or slanting stone foundations mentioned above, certainly influenced the contemporary military architecture at the time of the Crusades.

The citadel encloses within its walls the royal residence of the Ayyubids, together with other buildings destined for the exercise of political power. They were probably built here for both reasons of security and also in the desire to legitimise and confirm the political authority of the leaders who were of Kurdish origin and who ruled over the Arab population.  Dating from the reign of al-Malik al-Zâhir, the royal palace, whose architecture is laid out in a manner characteristic of Syrian Islamic Medieval palaces, possesses a gate with muqarnas (small pointed niches, stacked in tiers projecting beyond those below) and a tripartite façade on to the courtyard.

In 1214, the Great Mosque was rebuilt with a minaret of 21 metres, which probably also served as a watchtower. The House of Justice (Dar al-‘Adl), opposite the citadel, also dates back to this period. There were underground passages which led directly to the town.

[2] To be exact, at the Hamdanid period, under the command of Sayf al-Dawla.

[3] Placed perpendicular to the ground.

[4] The work of three architects who came from Edessa at the request of Badr al-Jamali, an Armenien Syrian.

[5] This theme is found in architectural decoration (walls of Diyarbakir, Anatolia, 11th-13th century) but also on metalwork, ceramics, illuminations and textiles.