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An inscription situated on the door, tells us that the Caliph ordened to  strengthen the northern fasade of the oratory, because it was going to collapse it self: “he has ordered to Allah’s servant, the believers’ emir… the restoration of this façade and its consolidation, to support the ceremonies for Allah’s cult and keep its sacred characteristics, these works were finished with Allah’s lely, in the month of Du-I-Hiyya in 346, under the ex-slave supervision, his visir and Abd Allah ibn Badr. A work made by Said ibn Ayub".
The restoration consisted in the building of a wall in the façade with eleven horseshoe archs, being the central one, bigger. Besides, the inscription said that the work was ordered by Abd al-Rahman III in the year 958.
The Palms Door was also know as Blessing Arch, whose designation seems to be linked to the act of the Royal Pardon with the Royal coronation of the new Monarch.
In the XVI century, two polilobated archs were done in one there was an inscription, before named. In 1553 Hernán Ruiz I the old performed a Pavilion that crowned the entrance, decorated with a marvellous image, the Mary’s Assumption and it has an inscription: “Hoc sacrum opus s angelicae salutationis divae Mariae Virgini dicatum frater Joannes a Toleto sculpendum curavit episcopatus sui anno decimo nativitatis vero Domini Nostri MDXXXIII”.
The two images are treated in an individual way every one in a niche, covered and flanked by two columns, that narrow towards the capital.
The conservation isn’t good, but its composition is wonderful. The inner decoration of the blessing arch, and its woodwork ceiling inspite of being a vault, with two pools with sacred water and two painting, framed in gypsum, "Saint Pedro" and "Saint Pablo" that enrich the place it was made by Juan Seguero de Matilla. 
The paintings aren’t conserved, and were replaced by a Juan Pablo II’s picture and the shield belonging to bishop Infantes Florido.
La realización de las trazas cancel que nos da acceso al interior del templo, se le atribuye a Tomás Jerónimo de Pedrajas en torno a 1725 aproximadamente, dilatándose las obras hasta 1732. En estos se colocan dos miliarios romanos, encontrados en 1533 al realizar los cimientos de la nueva Capilla Mayor, a ambos lados del arco. En el de la derecha, por ejemplo, podemos leer: “IMP. CAESAR. DIVI. F. / AVGVSTVS COS. XIII. TRIB. / POTEST. XXI. PONTIF. MAX. / A. BAETE. ET. IANO. AVGVST. / AD. OCEANVM. / LXIIII.”. Tomás Fernández Moreno nos comenta que, hacia el año 1614, sus letras estaban “doradas para mayor adorno”, pero que el paso del tiempo hizo que en 1730 apenas quedaran restos del dorado.
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