Place des Martyrs
The New Mosque (Djamaa el-Djedid), also known as the Mosque of the Fisherman’s Wharf (Mesdjed el-Haoutin) or Pêcherie Mosque, is one of the most significant historical and architectural landmarks in Algiers, the capital of Algeria. Despite its name, it is not new; it was constructed in 1660 CE (1070 AH) during the Ottoman period under the patronage of al-Hajj Habib, a Janissary governor appointed by the Ottoman administration in Constantinople. Located in the lower Casbah district near the port, its proximity to the fishing harbor earned it the nickname "Mosque of the Fisherman." This mosque is a remarkable example of Ottoman architecture blended with North African, Andalusian, and Byzantine influences, making it a unique cultural and religious monument.
The Djamaa el-Djedid was built during the Ottoman Regency of Algiers,
a period when the city was a major hub of trade, piracy, and cultural
exchange in the Mediterranean. The mosque was constructed on the site of
an earlier Quranic school, the Madrasa Bou Anan, and possibly near a
smaller mosque known as Mesdjed el-Haoutin ("Mosque of the Fishermen").
An inscription above the main entrance portal, dated 1660, credits
al-Hajj Habib with its construction, emphasizing his devotion to the
Hanafi rite, which the mosque continues to serve as a major temple
today.
During French colonial rule (1830–1962), the mosque was
renamed Mosquée de la Pêcherie, reflecting its location near the fishing
port. Unlike many Ottoman-era structures demolished by French urban
planners, the Djamaa el-Djedid was preserved, likely due to its
religious and cultural significance. It survived the redesign of the
Algiers waterfront, which created the Place des Martyrs, where the
mosque now forms the eastern edge.
The mosque has undergone
several reconstructions and renovations over the centuries, particularly
during the French period and after Algerian independence in 1962.
Despite these changes, it has retained its original name and much of its
architectural character, making it a enduring symbol of Algiers’ Ottoman
heritage.
The Djamaa el-Djedid is renowned for its eclectic architectural
style, which combines Ottoman, North African (Maghrebi), Andalusian,
Byzantine, and Italian influences. This fusion reflects Algiers’
position as a crossroads of Mediterranean cultures during the 17th
century. Below is a detailed breakdown of its architectural
elements:
Overall Layout
Basilical Plan with Latin Cross
Shape: The mosque’s floor plan is basilical, with three naves
perpendicular to the qibla wall, intersected by five bays. The
central nave and the penultimate bay are elevated, forming a Latin
cross at roof level. This unusual design has fueled a local legend
that the architect was a Christian who subtly incorporated a cross,
though scholars attribute the design to al-Hajj Habib, a Muslim
master builder adhering to Ottoman models. The cross shape likely
served a practical purpose: to elongate the prayer hall and
accommodate more worshippers.
Dimensions and Scale: The mosque is
relatively compact compared to later grand mosques, but its central
dome and minaret give it a commanding presence. The prayer hall is
spacious, with a large central nave and side aisles, designed to
serve the Hanafi community.
Dome and Cupolas
Central Dome:
The mosque’s most striking feature is its ovoid central dome, which
rises to a height of 24 meters at its intrados (inner surface). It
rests on four sturdy pillars via a drum and four pendentives, a
classic Ottoman and Byzantine technique. The dome’s slightly pointed
profile recalls the Syrian Church of Saint George in Ezra.
Octagonal Cupolas: At the four corners of the central dome, four
square spaces are covered by octagonal cupolas, each resting on an
octagonal drum and pendentives. These cupolas are smaller and
complement the central dome, creating a harmonious roofline.
Vaulting: The spaces between the cupolas are covered by barrel
vaults on three sides, while the fourth side, facing the qibla wall,
features a vault with three bays flanked by two aisles. This
arrangement enhances the mosque’s spatial complexity and draws
attention to the qibla.
Mihrab and Minbar
Mihrab: The
mihrab (niche indicating the direction of Mecca) is octagonal,
topped with a cul-de-four (quarter-dome). Its lower section is
adorned with ceramic tiles framed by two marble plinths, reflecting
Andalusian decorative traditions. The mihrab’s arch design also
shows Andalusian influence, with intricate geometric and arabesque
patterns.
Minbar: The marble minbar (pulpit) is a masterpiece of
craftsmanship, imported from Italy and originally part of the
al-Sayyida Mosque, which was destroyed in 1832. Unlike traditional
North African minbars made of wood, this marble minbar reflects
Ottoman preferences, though its design retains Maghrebi elements.
Minaret
The minaret is a square tower, a hallmark of North
African architecture, standing at 25 meters today (originally 30
meters, reduced due to rising street levels). It is crowned with a
ceramic frieze and a lantern, giving it an elegant Maghrebi
silhouette. Unlike the Ottoman-style body of the mosque, the minaret
aligns with local traditions, similar to those of the Ketchaoua and
Ali Bitchin mosques in Algiers. A clock, added by French architect
Bournichon during colonial rule, was repurposed from the Palais
Jenina.
Materials and Decoration
Exterior: The mosque’s
exterior is entirely whitewashed, including the domes and cupolas,
creating a striking, unified appearance. A thin line of colored
tiles trims the decorative ramparts facing the Place des Martyrs,
providing a subtle contrast. The structure is built with stone,
marble, brick, and plaster.
Interior: The interior is richly
decorated with ceramic tiles, woodwork, and marble columns. Some
columns are repurposed from Byzantine basilicas in the Algiers
region, adding historical depth. Carvings in the interior show
Italian influences, particularly in the ornate details, while the
overall aesthetic adheres to Ottoman and Andalusian models.
Columns and Capitals: The mosque features solid marble columns with
capitals taken from Byzantine ruins, a testament to the region’s
layered history. These columns support the arches and vaults,
contributing to the mosque’s robust yet elegant structure.
Entrances
The mosque has two main entrances: one opening onto the
Place des Martyrs and another on the ramparts leading to the port.
These entrances reflect its role as a community hub, accessible to
both the city’s residents and fishermen. A third entrance, less
prominent, serves the lower Casbah.
Hanafi Rite: The Djamaa el-Djedid remains the primary Hanafi mosque
in Algiers, serving the community that follows this school of Islamic
jurisprudence, which was dominant during Ottoman rule. Its religious
importance is underscored by its large prayer hall and historical role
as a congregational mosque.
Cultural Fusion: The mosque’s
architecture embodies Algiers’ cosmopolitan character in the 17th
century. The blend of Ottoman, Maghrebi, Andalusian, Byzantine, and
Italian elements reflects the city’s role as a melting pot of
Mediterranean cultures. Scholars suggest that the mosque’s unique design
may stem from Algiers’ distance from Istanbul, allowing local builders
to incorporate regional traditions.
Symbol of Resilience: The
mosque’s survival through French colonization, urban redevelopment, and
modern challenges (such as the nearby metro construction) highlights its
enduring significance. It stands as one of the few Ottoman-era buildings
spared during the French redesign of the waterfront.
Local Legends:
The Latin cross plan has inspired myths that a Christian architect
designed the mosque and was executed for embedding a Christian symbol.
However, historical evidence points to al-Hajj Habib, a Muslim builder,
as the mastermind, with the cross shape likely a practical design
choice.
Geographical Context: The mosque is situated in the lower Casbah, a
UNESCO World Heritage site, near the port of Algiers. Its qibla wall
faces Amilcar Cabral Boulevard, a busy thoroughfare, while the mosque
itself borders the Place des Martyrs, a central plaza created during
French rule. The Almoravid Great Mosque of Algiers (c. 1097 CE) is just
70 meters to the east, making this area a historic religious hub.
Proximity to the Sea: The mosque’s nickname, "Mosque of the Fisherman,"
derives from its location near the fishing harbor, where local fishermen
historically attended prayers. The Bab al-Bahr (Gate of the Sea) and the
original Mesdjed el-Haoutin were nearby, reinforcing its maritime
connection.
Urban Integration: The mosque is a focal point of the
lower Casbah, surrounded by historic sites like the Ketchaoua Mosque,
Dar Aziza, and the Palais des Raïs. Its accessibility via the Place des
Martyrs metro station makes it a popular stop for visitors exploring
Algiers’ old city.
Condition: The mosque is well-preserved, with ongoing maintenance to
protect its historical and architectural integrity. Some reviewers note
that the nearby metro construction has slightly altered its
surroundings, but the structure itself remains intact.
Accessibility:
The mosque is open to non-Muslims outside of prayer times, though
visitors are advised to take a local guide for a richer experience and
to navigate cultural norms. It is family-friendly, suitable for groups,
and accessible 24 hours, though prayer times may restrict entry.
Visitor Reviews: The mosque receives high praise for its architectural
beauty and historical significance, with ratings averaging 4.7/5 on
platforms like Safarway and Top-Rated.Online. Visitors describe it as a
“superb mosque” and an “architectural masterpiece” that enhances the
heart of Algiers.
Activities: Beyond worship, the mosque serves as a
cultural landmark, attracting tourists interested in Islamic
architecture, Ottoman history, and Algiers’ Casbah. Its proximity to
other attractions makes it easy to combine with visits to the Great
Mosque, Ketchaoua Mosque, or the National Museum of Decorative Arts.
While the Djamaa el-Djedid is often celebrated for its Ottoman
character, its architectural uniqueness stems from its divergence from
strict Ottoman norms. Scholars argue that Algiers’ distance from
Istanbul allowed for a creative synthesis of local and Mediterranean
traditions, evident in the minaret’s Maghrebi style, the mihrab’s
Andalusian arch, and the Byzantine-inspired dome structure. This
blending challenges the narrative of a purely Ottoman mosque, suggesting
instead a distinctly Algerian monument shaped by global influences.
The legend of the Christian architect, while debunked, reflects the
mosque’s ability to inspire storytelling and cultural debate. Its
survival through colonial and modern transformations underscores its
role as a resilient symbol of Algerian identity, though some critics
argue that urban developments, like the metro, have slightly diminished
its historical ambiance.