the servant of our lord and master the imam al-Amir bi-ahkam Allah the son of the imam al-Musta'li) Bi'llah, commander of the faithful, may God's prayers be upon them and upon their pure and honourable ascendants, and their pious descendants, seeking the favour of God, the King, the Generous...O God, give victory to the armies of the imam al-Amir bi-ahkam Allah, commander of the faithful, over all the infid(els.....the most noble lord, al-Ma'mun amir of the armies, sword of Islam, defender of the imam), protector of the judges of the Muslims and the director of the missionaries of the believers, Abu 'Abd Allah Muhammad (servant of) al-Amir, may God strengthen religion for him, may He make the commander of the faithful enjoy long life, may He perpetuate his power and elevate his word, in the year 519 [1125-6]." The name of the reigning caliph's father, al-Mustaʿli, is placed in the center of the inscription frieze above the entrance door for maximum exposure. While the inscriptions of the upper band are carved in relief with floriated letters, the lower band of inscriptions are plain, relatively small in size with flat letters and a floriated stem in the background. Interior decoration In the mosque's interior courtyard, a band of Kufic inscriptions with a floriated background runs around the arches along the courtyard. Aside from some of the Kufic inscriptions and some of the carved wooden tie-beams between the arches, most of the mosque's original interior decoration has not been preserved. The mosque's original Fatimid mihrab was replaced during the 14th-century restoration by a Mamluk-style mihrab with marble paneling, however the 1990s Bohra restoration replaced this too with the current modern marble creation. The simple stepped crenellations seen around the top edge of the courtyard today were also added by the Bohra restoration. The original decorative crenellations had disappeared by the early 20th century, but were recorded in drawings made by English architect James Wild in the 1840s. They were executed in openwork and consisted of two elements: a lower band with a geometric motif similar to the equivalent openwork added by al-Hafiz to the courtyard of Al-Azhar Mosque, and a wider upper band featuring an interlacing motif similar to the stucco-carved motifs at the top of the Fatimid-era mihrab in the Mashhad of Sayyida Ruqayya. Minaret The minaret was added later by the Mamluk amir Yalbugha al-Salimi as part of his restorations