100 files changed, 3865 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/26473-8.txt b/26473-8.txt
new file mode 100644
index 0000000..72b4e29
--- /dev/null
+++ b/26473-8.txt
@@ -0,0 +1,1192 @@
+The Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Arts of Persia
+       & Other Countries of Islam
+
+Author: H. Kevorkian
+
+Release Date: August 28, 2008 [EBook #26473]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ARTS OF PERSIA ***
+
+
+
+
+Produced by Fritz Ohrenschall, Linda Cantoni, and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: The main text in this book is interspersed with
+numerous illustrations and accompanying text. In this e-book, the
+illustrations and accompanying text are set off from the main text by
+lines of asterisks. For the reader's convenience, where the original
+indicates that the main text is continued on another page (e.g.,
+[CONTINUED ON PAGE THREE]), the page on which it is continued is marked
+with a page number, e.g., [PAGE 3].]
+
+
+
+
+SPECIAL EXHIBITION
+
+
+THE ARTS OF PERSIA
+
+& OTHER COUNTRIES OF ISLAM
+
+
+H. KEVORKIAN COLLECTION
+
+[Illustration]
+
+FROM THURSDAY, APRIL TWENTY-SECOND
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE
+ON THE ENTIRE THIRD FLOOR
+
+
+THE ANDERSON GALLERIES
+489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK
+1926
+
+
+THE ENTIRE THIRD FLOOR GALLERIES
+FROM THURSDAY, APRIL TWENTY-SECOND
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE
+[OPEN WEEK-DAYS, 9-6; SUNDAYS, 2-5 P.M.]
+
+       *       *       *       *       *
+
+[Illustration: STUCCO BAS-RELIEF, PAINTED IN POLYCHROME. EXCAVATED AT
+RAY (RHAGES) ANTERIOR TO THE XIITH CENTURY]
+
+This exhibition has been arranged with a desire to meet the
+convenience of those who are interested in manifestations of the arts
+of different countries over which ISLAM held sway at one time or other
+in the past. An effort has been made to show under one roof
+representative examples of works produced at different epochs and
+stages of the civilizations referred to, so that they may be seen, and
+perhaps studied, with the minimum expenditure of time.
+
+Fine examples of many branches of the arts of these peoples are in
+permanent exhibitions at the Metropolitan Museum, New York, and the
+museums of great cities throughout the country. It is difficult to
+find adequate words to describe the enchanting atmosphere of the halls
+at the Metropolitan Museum where Near Eastern art is installed; and
+the same can truly be said of the Museum of Fine Arts, Boston, and the
+University of Pennsylvania Museum, Philadelphia. These exhibitions
+must inevitably contribute to the enjoyment and education of countless
+visitors to these institutions, and will continue to do so in
+increasing degree to the enjoyment of generations to come.
+
+The present exhibition does not comprise a vast number of objects. Its
+claim to attention lies in the fact that it includes an important
+series of really first class works which are also of great historical
+importance. There will be on view as well some comparatively new types
+of objects of æsthetic and archæological interest, obtained as the
+result of recent excavations.
+
+The briefness of time available precluded the possibility of compiling
+a catalogue, as was at first intended. The present booklet is issued
+to explain the scope of the exhibition, and extend a cordial
+invitation to visit it.
+
+H.K.
+
+       *       *       *       *       *
+
+[Illustration: MUHAMMAD (THE PROPHET) WITNESSES ALI (HIS SON-IN-LAW
+AND SUCCESSOR) DEFEAT AMR BEN ABDWAD]
+
+One of the eight illustrations for a XIIIth Century Persian Manuscript
+entitled, "HISTORY OF TABARI", compiled A.H. 310 (A.D. 922). The
+present copy is a subsequent one of the Persian version, translated by
+AL B'ALA'MI, A.H. 352.
+
+It is interesting to note that TABARI records in the book here
+referred to, that three messages were sent by MUHAMMAD to KHUSRAW
+PARNIZ, imparting the divine warnings. One of the messages, as
+recorded in an old Manuscript entitled NIHAYAT UL-IRAB, reads:
+
+"In the name of God, the merciful, the compassionate. From MUHAMMAD
+the Apostle of God to KHUSRAW son of HURMAZD. But to proceed. Verily I
+extol unto thee God, beside whom there is no other God. He it is who
+guarded me when I was an orphan, and made me rich when I was
+destitute, and guided me when I was straying in error. Only he who is
+bereft of understanding, and over whom calamity triumphs, rejects the
+message which I am sent to announce. O KHUSRAW, submit and thou shalt
+be safe, or else prepare to wage with God and with his Apostle a war
+which shall not find them helpless. Farewell."
+
+       *       *       *       *       *
+
+[Illustration]
+
+The rise of ISLAM and its rapid advent to power, is perhaps the most
+surprising chapter of the history of mankind. The great empires,
+Persian and Byzantine, which were subjected to the urgent onslaught of
+this rising power may have been in an enfeebled condition as a result
+of excess of despotism and internal dissensions, as historians affirm;
+but that the element of the power must have been in the rationality of
+the principles contained in the teaching, there can be no doubt.
+
+"It was undoubtedly to ISLAM, that simple yet majestic creed of which
+no unprejudiced student can ignore the grandeur, that Arabs owed the
+splendid part which they were destined to play in the history of
+civilization. In judging of the Arabian Prophet, western critics are
+too often inclined to ignore the condition from which he raised his
+country, and to forget that many institutions which they condemn were
+not introduced but only tolerated by ISLAM. The early Muslims were
+very sensible of the immense amelioration in their life effected by
+MUHAMMAD'S teachings. What this same amelioration was is well shown in
+the following passage from the oldest extant biography of the
+Prophet," says Professor G. Browne in his memorable work on Persia,[1]
+and quotes IBN HISHAM (A.H. 213: A.D. 828) in support.
+
+[Footnote 1: "Literary History of Persia," by Edward G. Browne, M.A.,
+M.B., Vol. I, page 186.]
+
+"During the first half of the seventh century," says DOZY in
+
+[CONTINUED ON PAGE THREE]
+
+       *       *       *       *       *
+
+[Illustration: ACCESSION AT KUFA, A.D. 749, OF ABU'L-ABBAS ABDULLAH
+AS-SAFFAH FIRST CALIPH OF THE HOUSE OF ABBAS]
+
+One of eight illustrations for a XIIIth Century Manuscript entitled,
+"HISTORY OF TABARI", compiled A.H. 310 (A.D. 922). The present copy is
+a subsequent one of the Persian version, translated by AL B'ALA'MI,
+A.H. 352.
+
+"It was a dynasty abounding in good qualities, richly endowed with
+generous attributes, wherein the wares of science found a ready sale,
+the merchandise of culture was in great demand, the observances of
+religion were respected, charitable bequests flowed freely ... and the
+frontiers were bravely kept."--AL-FAKHRI (historian of fame of the
+XIIIth Century) on the ABBASID Dynasty.
+
+       *       *       *       *       *
+
+[PAGE 3]
+
+his excellent work on ISLAM,[2] "everything followed its accustomed
+course in the Byzantine as in the Persian Empire. These two states
+continued always to dispute the possession of western Asia; they were,
+to all outward appearance, flourishing; the taxes which poured into
+the treasuries of their Kings reached considerable sums, and the
+magnificence, as well as the luxury of their capitals had become
+proverbial. But all this was but in appearance, for secret disease
+consumed both empires; they were burdened by a crushing despotism; on
+either hand the history of the dynasties formed a concatenation of
+horrors, that of the state a series of persecutions born of
+dissensions in religious matters. At this juncture it was that, all of
+a sudden, there emerged from deserts hardly known and appeared on the
+scene of the world a new people, hitherto divided into innumerable
+nomad tribes, who, for the most part, had been at war with one
+another, now for the first time united. It was this people,
+passionately attached to liberty, simple in their food and dress,
+noble and hospitable, gay and witty, but at the same time proud,
+irascible, and, once their passions were aroused, vindictive,
+irreconcilable and cruel, who overthrew in an instant the venerable
+but rotten empire of the Persians, snatched from the successors of
+Constantine their fairest provinces, trampled under their feet a
+Germanic kingdom but lately founded, and menaced the rest of Europe,
+while at the same time, at the other end of the world, its victorious
+armies penetrated to the Himalayas. Yet it was not like so many other
+conquering peoples, for it preached at the same time a new religion.
+In opposition to the dualism of the Persians and a degenerate
+Christianity, it announced a pure monotheism which was accepted by
+millions of men, and which, even in our own time, constitutes the
+religion of a tenth part of the human race."
+
+[Footnote 2: Translated into French by Victor Chauvin under the title
+of "Essai sur l'Histoire de l'Islamisme" (Leyden and Paris, 1879).]
+
+The teachings of MUHAMMAD were not of a nature to arouse
+
+[CONTINUED ON PAGE FIVE]
+
+       *       *       *       *       *
+
+[Illustration: POLYCHROME ENAMELLED GLASS MOSQUE LAMP OF THE XIIITH
+CENTURY]
+
+Very few examples of this highly advanced art survive. They represent
+an extremely aristocratic manifestation of art and were executed by
+order of MAMELUKE CALIPHS of Egypt, and dedicated by them to their
+great Mosques, individually inscribed in magnificent calligraphy.
+
+       *       *       *       *       *
+
+[PAGE 5]
+
+intolerance.[3] History does not record the practice of compulsory
+conversion in the scheme of conquest of early converts. "It is often
+supposed," says Professor BROWNE, "that the choice offered by the
+warriors of ISLAM was between the QUR'AN and the SWORD; this, however,
+is not the fact." There are innumerable evidences to the contrary
+which history records.[4] It appears that the exemplary behavior of
+the Arabs, under their newly acquired faith, was the main factor not
+only in the success of their scheme of conquest, but also in the
+impression which it made on the defeated in determining them to adopt
+the faith which produced such upright warriors.
+
+[Footnote 3: "Righteousness is not that ye turn your faces to the East
+and to the West, but righteousness is this: Whosoever believeth in
+God, and the last day, and the angels, and the book, and the prophets;
+and whoso, for the love of God, giveth of his wealth unto his kindred,
+and unto orphans, and the poor, and the traveller, and to those who
+crave alms, and for the release of the captives; and whoso observeth
+prayer and giveth in charity; and those who, when they have
+covenanted, fulfil their covenant; and who are patient in adversity
+and hardship, and in times of violence: these are the righteous and
+they that fear the Lord."--QUR'AN, SURA II.]
+
+[Footnote 4: The treaty concluded by HABIB B. MASLAMA with the people
+of DABIL in Armenia ran as follows: "In the name of God the merciful,
+the clement. This is a letter from HABIB B. MASLAMA to the people of
+DABIL, Christians, Magians, and Jews, such of them as are present and
+such of them as are absent. Verily I guarantee the safety of your
+lives, properties, churches, temples and city walls; ye are secure,
+and it is incumbent upon us faithfully to observe this treaty so long
+as you observe it and pay the poll-tax and the land-tax. God is
+witness, and he sufficeth as a witness."--QUR'AN, V. 104. Concerning
+the acceptance of the Poll-Tax from ZOROASTRIANS, as well as from Jews
+and Christians. A. VON KREMER'S "Kulturgeschichte d. Orients," Vol. I,
+page 59.]
+
+The tremendous political upheaval that the evolution of ISLAM brought
+in its train to the affairs of the world does not fall within the
+scope of this paper. A highly important fact, however, must not be
+lost sight of, that by consolidating and unifying the tottering states
+a new civilization was founded which knew how to turn to account the
+culture of the ancient states conquered. In this overwhelming
+transformation Persia came in, from the outset, to play the most
+conspicuous and important part. The
+
+[CONTINUED ON PAGE NINE]
+
+       *       *       *       *       *
+
+[Illustration: ROYAL IVORY BOX, WITH METAL MOUNTING. HISPANO-ARABIAN
+ART, XIITH-XIIITH CENTURY DECORATED IN ENAMEL AND GOLD, DEPICTING
+INSIGNIA OF SUCCESSORS OF UMAYYAD CALIPHS OF SPAIN, AND QUR'ANIC
+ROSETTES AND KUFIC CALLIGRAPHY OF THE HIGHEST DISTINCTION]
+
+[Illustration: FAIENCE CYLINDRICAL VASE, WITH RELIEF AND LUSTRE
+DECORATION. FROM FOSTAT (ANCIENT CAIRO), DYNASTY OF FATIMID
+ANTI-CALIPHS (A.D. 974-1171)]
+
+[Illustration: AN EARLY SAFAWID PAINTING (CIRCA A.D. 1525) OF
+EXQUISITE RHYTHM, DEPTH AND DIGNITY]
+
+       *       *       *       *       *
+
+[PAGE 9]
+
+artistic productions of the MUHAMMADAN world that have come down to us
+as living monuments, substantiate this statement without a shadow of
+doubt, which makes it unnecessary to resort to recorded history,
+although its pages abound with incontestable evidences.[5]
+
+[Footnote 5: "Thus it is by no means correct to imply that the two or
+three centuries immediately following the MUHAMMADAN conquest of
+Persia were a blank page in the intellectual life of its people. It
+is, on the contrary, a period of immense and unique interest, of
+fusion between the old and the new, of transformation of forms and
+transmigration of ideas, but in no wise of stagnation or death.
+Politically, it is true, Persia ceased for a while to enjoy a separate
+national existence, being merged in that great MUHAMMADAN EMPIRE which
+stretched from GIBRALTAR to the JAXARTES; but in the intellectual
+domain she soon began to assert the supremacy to which the ability and
+subtlety of her people entitled her. Even the forms of State
+organization were largely adapted from Persian models."--AL-FAKHRI
+(ed. AHLWARDT, page 101), on the organization of the DIWANS or
+Government offices.
+
+"In the finance department not only was the Persian system adopted, but
+the Persian language and notation continued to be used till the time
+of AL-HAJJAJ B. YUSUF (about A.D. 700)."--EDWARD G. BROWNE, "Literary
+History of Persia", Vol. I, page 204.]
+
+It would be difficult to offer an explanation for the underlying unity
+and integrity of character manifest in the artistic expression of the
+MUHAMMADAN countries, of vast geographical range, without a clear
+understanding of the vital force contained in the teachings of the
+Arabian Apostle, and the characteristics of his people, destined to
+carry those teachings from one end of the earth to the other. For this
+reason the foregoing brief survey has been ventured.
+
+There can be no doubt that the pivot around which the artistic
+activities of MUHAMMADAN countries revolved, was Persia.[6] She was to
+attain the function of the SUN, element of
+
+[CONTINUED ON PAGE SEVENTEEN]
+
+       *       *       *       *       *
+
+ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA (EPIC OF KINGS) of the
+XVth Century.
+
+Representing TIMUR-I-LANG (A.H. 736-807) attending a festival. The
+name and the full titles of TIMUR appear in excellent Thuluth
+lettering round the border of the rug upon which the monarch sits.
+
+This important Manuscript was presented by the Emperor of Russia to
+the Ambassador of Persia at St. Petersburg, A.D. 1829. The
+Ambassador's autograph inscription reads:
+
+"The SHAHNAMA graciously presented by H.M. the Emperor at my third
+visit--may it be omen of good fortune. MUHAMMAD ALI IBNI GHAFOURI
+Ambassador, 22nd of RAJAB, A.H. 1245."
+
+"TIMUR BEG was seated in a portal, in front of the entrance of a
+beautiful Palace; and he was sitting on the ground.... The lord was
+seated cross-legged, on silken embroidered carpets, amongst round
+pillows. He was dressed in a robe of silk, with white headdress on his
+head, on the top of which there was a spinel ruby, with pearls and
+precious stones round it. As soon as the ambassadors saw the lord,
+they made a reverential bow, placing the knee on the ground, and
+crossing the arms on the breast; then they went forward and made
+another and then a third, remaining with their knees on the ground.
+The lord ordered them to rise and come forward.... Three MIRZAS, or
+secretaries, ... came and took the ambassadors by the arms, and led
+them forward until they stood before the lord.... He asked after the
+King, saying, 'How is my son the King? is he in good health?' When the
+ambassadors had answered, TIMUR BEG turned to the knights who were
+seated around him, amongst whom were one of the sons of TOKTAMISH, the
+former Emperor of TARTARY, several chiefs of the blood of the late
+Emperor of SAMARQUAND, and others of the family of the lord himself,
+and said, 'Behold, here are the ambassadors sent by my son, the King
+of Spain, who is the greatest King of Franks, and lives at the end of
+the world. These Franks are truly great people, and I will give my
+benediction to the King of Spain, my son."--From the Diary of RUY
+GONZALEZ DI CLAVIJO, principal of the embassy despatched A.D. 1404 to
+the Court of SAMARQUAND by Henry III of Castile, Spain.
+
+CLAVIJO describes the beautiful gardens with their tiled palaces where
+banquets were given. The ambassador, who was invited, marvelled at the
+gorgeous tents, one of which "was so large and high that from a
+distance it looked like a castle, and it was a very wonderful thing to
+see, and possessed more beauty than it is possible to describe". It is
+interesting to notice that SHARAF-U-DIN mentions the presence of the
+Ambassadors, "for," he writes, "even the smallest of fish have their
+place in the sea". Truly a delightful touch!--History of Persia, by
+SIR PERCY SYKES, Vol. II, page 133.
+
+[Illustration: ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA (EPIC OF
+KINGS) OF THE XVTH CENTURY]
+
+"On the extreme of the western side of the royal precincts opening on
+to the CHAHAR BAGH are a garden and building. The Garden was
+previously called "BAGH I BULBUL" (Garden of Nightingales).--LORD
+CURZON, History of Persia.
+
+"Night drawing on, all the pride of SPAHAUN was met in the CHAUR BAUG
+and grandees were airing themselves, prancing about with their
+numerous trains, striving to outdo each other in pomp and
+generosity."--DR. FRYER, recorded A.D. 1677.
+
+CHARDIN, who was at Ispahan at the time of SHAH SULEIMAN'S reign
+(1667-1694), records in his "VOYAGES", Vol. VIII, page 43:
+
+"When one walks in these places expressly made for the delights of
+love and when one passes through all these cabinets and niches, one's
+heart is melted to such an extent that to speak candidly, one always
+leaves with a very ill grace. The climate without doubt contributes
+much towards exciting this amorous disposition, but assuredly these
+places, although in some respects little more than cardboard castles,
+are nevertheless more smiling and agreeable than our most sumptuous
+palaces."
+
+LORD CURZON says (History of Persia, Vol. II, page 37) that "Even
+CHARDIN, enthusiastic but seldom sentimental, was inspired to an
+unwonted outburst by the charms of HASHT BAHISHT".
+
+[Illustration: VIEW OF CHAHAR BAGH (FOUR GARDENS) AND HASHT BAHISHT
+(PAVILION OF EIGHT PARADISES) AT ISPAHAN. CONSTRUCTED BY SHAH SULEIMAN
+SAFAWI ABOUT A.D. 1670. REPRODUCTION FROM "LA PERSE, LA CHALDEE ET LA
+SUSIANE" (1887) BY DIEULAFOY]
+
+PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN (Hall of Forty
+Pillars) built by SHAH ABBAS the Great (A.D. 1588-1629).
+
+These are decorated with representations of scenes from the Royal
+Court of the great Shah, painted minutely by Court artists.
+
+"They transport us straight to the Court of the lordly ABBAS and his
+predecessors or successors on the throne.... We see the King engaged
+at some royal festivity enjoying the pleasure of the Bowl."--LORD
+CURZON, History of Persia, Vol. II, page 34.
+
+KER PORTER, who saw the Palace of Chahal Situn in its perfect
+condition, records: "The exhaustless profusion of its splendid
+materials reflected not merely their own golden lights on each other,
+but all the variegated colours of the Garden, so that the whole
+surface seemed formed of polished silver and mother of pearl set with
+precious stones."
+
+LORD CURZON, who visited it soon after its last repair in 1891, quotes
+KER PORTER and by way of contrast says: "The bulk of this superb
+decoration which still remains in the THRONE ROOM behind, to point
+bitter contrast, had on the walls of the LOGGIA been ruthlessly
+obliterated by the brush of the painter, who had left in its place
+pink wash; had I caught the Pagan, I would gladly have suffocated him
+in a barrel of his own paint."--History of Persia, Vol. II, page 33.
+
+[Illustration: PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN (HALL
+OF FORTY PILLARS) BUILT BY SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+[Illustration: RIZA ABBASI, FAVORED COURT ARTIST, PORTRAYS EUROPEANS
+AT THE COURT OF SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+Detail of exquisitely painted woodwork from the Pavilion of CHAHAL
+SITUN (Hall of Forty Pillars), the Palace at Ispahan built by SHAH
+ABBAS.
+
+The young Shah, who was pleased with the leader of the party
+(Europeans), gave him royal gifts, Sir Anthony Sherley records (1598),
+including "forty horses all furnished, two with exceeding rich
+saddles, plated with gold, and set with rubies and turquoises." To
+these he added camels, tents, and a sum of money.
+
+       *       *       *       *       *
+
+[PAGE 17]
+
+her old faith, source of sustaining energy; and continued to radiate
+into these planets of countries and races of the System, her
+all-stimulating cultural beams, the reflection of which is discernible
+in all artistic manifestations of those countries. In the field of
+literature, which is so little known in the western world, the
+influence is even greater than in the visual art with which we are
+concerned. MUHAMMADAN literature, be it Arabic, Turkish, or Persian,
+is PERSIAN in spirit and feeling.[7]
+
+[Footnote 6: "The ascendancy of the Persians over the Arabs, that is
+to say of the conquered over the victors, had already for a long while
+been in course of preparation; it became complete when the ABBASIDS,
+who owed their elevation to the Persians, ascended the throne (A.D.
+749). The most distinguished personages at court were consequently
+Persians. The famous BARMECIDES were descended from a Persian noble
+who had been superintendent of the Fire Temple at BALKH. AFSHIN, the
+all-powerful favorite of the Caliph AL-MUTASIM, was a scion of the
+Princes of USRUSHNA in Transoxiana."--DOZY, "Histoire de
+l'Islamisme".]
+
+[Footnote 7: "With the rise of PERSIAN influence, there opened an era
+of culture, toleration, and scientific research. The practice of oral
+tradition was also giving place to recorded statement and historical
+narrative,--a change hastened by the scholarly tendencies introduced
+from the East."--SIR WILLIAM MUIR, on the rise of the Abbasid
+Dynasty.]
+
+The fusion of MUHAMMADAN doctrine with this Aryan (Persian) culture of
+old,[8] is an important event in the history of Art. For out of this
+fusion came forth into being a new phase of artistic expression
+completely different, in form and spirit, from its predecessors.
+Probably of equal importance is the fact that, although practised by
+divers races and subjected to many developments, fluctuations and
+variations, it has retained throughout the centuries its identical
+characteristics. What was the vital force that brought about this
+cultural evolution and unification? The answer appears to be RELIGION,
+as we shall see.
+
+[Footnote 8: "PERSIAN influence increased at the court of the CALIPHS,
+and reached its zenith under AL-HADI, HARUNU'R-RASHID, and AL-MAMUN.
+Most of the ministers of the last were PERSIANS or of PERSIAN
+extraction. In BAGHDAD, PERSIAN fashions continued to enjoy an
+increasing ascendancy. The old PERSIAN festivals of the NAWRUZ,
+MIHRGAN, and RAM were celebrated. PERSIAN raiment was the official
+court dress, and the tall, black, conical PERSIAN hats were already
+prescribed as official by the second ABBASID Caliph (in A.H. 153: A.D.
+770). At the court the customs of the SASSANIAN Kings were imitated,
+and garments decorated with golden inscriptions were introduced, which
+it was the exclusive privilege of the ruler to bestow. A coin of the
+Caliph AL-MUTAWAKKIL shows us this Prince actually clothed in true
+PERSIAN fashions".--VON KREMER, Streitzuge, page 32.]
+
+The foundation of the MUHAMMADAN EMPIRE was RELIGION. It was to the
+Holy Standard that the nations bent
+
+[CONTINUED ON PAGE TWENTY-THREE]
+
+       *       *       *       *       *
+
+     _"Lips sweet as sugar on my pen bestow,
+     And from my book let streams of odour flow."_
+
+     --J'AMI.
+
+ILLUSTRATED AND ILLUMINATED MANUSCRIPT
+
+The complete volume of "YUSUF-OU-ZALIKHA", the popular poem by the
+famous mystic poet J'AMI, based on the Biblical story of JOSEPH and
+POTIPHAR'S WIFE. The scribe, MIR ALI SULTANI.
+
+The colophon reads:
+
+"Terminated by the sinner, humble MIR ALI SULTANI the penman, may God
+forgive his sins and shelter his faults. Terminated in the month of
+MOHARRAM AL HARAM in the year A.H. 944 (in letters) (A.D. 1537) in the
+glorious city of BUKHARA."
+
+The Dedication in the handwriting of the scribe, in ornate gold
+lettering, reads:
+
+"For his majesty, the AUGUST, the just, the possessor of virtues, the
+great KHAGAN GHAZI ABD-UL-AZIZ BAHADUR KHAN, may his domain last
+forever."
+
+The autograph of the Emperor SHAH JAHAN, the "GREAT MOGUL", on the
+magnificently decorated mount reads:
+
+"In the name of God compassionate and merciful this YUSUF-OU-ZALIKHA
+treasured on the occasion of BLESSED ACCESSION." (A.D. 1627)
+
+In confirmation of the foregoing, it is of great interest that
+JAHANGIR makes special reference in his memoirs (Tuzuk-i-Jahangiri) to
+an incident, as of highest importance, that he was presented by
+ABD-AL-RAHIM KHAN, KHAN-I-KHANAN, with a superb copy of J'AMI'S poem
+YUSUF-OU-ZALIKHA, transcribed by MIR ALI SULTANI, "Prince of Penmen",
+and that the gift was appraised at "a thousand Muhr".
+
+[Illustration: COMPLETE ILLUSTRATED AND ILLUMINATED MANUSCRIPT OF
+"YUSUF-OU-ZALIKHA", BY THE FAMOUS MYSTIC POET J'AMI]
+
+ONE OF THE ILLUSTRATIONS TO THE MANUSCRIPT YUSUF-OU-ZALIKHA
+
+ZALIKHA in old age, broken and in poverty, meets YUSUF in the market
+place in Egypt.
+
+     _"Where is thy youth, and thy beauty, and pride?"
+     "Gone, since I parted from thee," she replied.
+     "Where is the light of thine eye?" said he.
+     "Drowned in blood-tears for the loss of thee."
+     "Why is that cypress tree bowed and bent?"
+     "By absence from thee and my long lament."
+     "Where is thy pearl, and thy silver and gold,
+     And the diadem bright on thy head of old?"..._
+
+     --Quotation from YUSUF-OU-ZALIKHA (J'AMI).
+     Translation of R.T. GRIFFITH.
+
+[Illustration]
+
+[Illustration: CHISELLED SILVER BOWL, DECORATED IN FILIGREE AND
+POLYCHROME ENAMEL. PERSIAN WORK OF THE XVITH CENTURY, PROBABLY
+EXECUTED IN ASIA MINOR FOR A PRINCELY OTTOMAN PATRON]
+
+       *       *       *       *       *
+
+[PAGE 23]
+
+and professed unqualified allegiance. A powerful political unity came
+into existence and continued for a period of SIX centuries
+uninterrupted. The nations of this united kingdom of ISLAM were thus
+merged into one unit, under the stimulus of one formal religion,
+freely transmigrating local ideas. Arts and culture were transformed,
+but the evolution thus caused by the Religion was essentially
+political in nature.
+
+"There is no God but GOD," said the APOSTLE OF ARABIA, but the poet
+reflected awhile, and his rejoinder was: "The Ways of God are as the
+number of SOULS OF MEN."
+
+The Prophet's religion was rational, its principles attainable; it
+secured for the poet social amelioration and physical comfort, but
+there was a voice from the depth of his soul that he could not
+silence. It was the voice of mystery; he was concerned with the
+problems of the "Wherefore, the Whence, and the Whither".... Was he
+not a Son of the land which PLOTINUS visited to learn mystery of the
+Orient of Old?[9]
+
+[Footnote 9: "Il prit un si grand goût pour la philosophie qu'il se
+proposa d'étudier celle qui était enseignée chez les Perses et celle
+qui prévalait chez les Indiens. Lorsque l'empéreur Gordien se prépara
+à faire son expédition contre les Perses, Plotin, alors âgé de
+trente-neuf ans, se mit à la suite de l'armée. Il avait passé dix
+années entières près d'Ammonius. Gordien ayant été tué en Mesopotamie,
+Plotin eût assez de peine à se sauver à Antioche."--PORPHYRY ON
+PLOTINUS: Translation of the Enneads of Plotinus (Bouillet; Paris,
+1857).]
+
+We have to look therefore to the RELIGION, "The Ways" of whose God
+"are as the number of Souls of Men", to perceive the true nature of
+the evolution of the artistic expression of these people.
+
+Souls with irresistible cravings for Mysticism, poets, artists,
+philosophers and the like, discovered for the first time from
+MUHAMMAD'S formal teachings, which contained certain esoteric
+elements, that the senses, unreal and phenomenal, have yet an
+important mission to fulfill in the task which aims to escape from
+SELF (which is an illusion and the root of SIN, PAIN, and SORROW) and
+to attain the height where the eternal beauty,
+
+[CONTINUED ON PAGE TWENTY-SEVEN]
+
+       *       *       *       *       *
+
+"PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF FORTRESS, BY
+RAMDAS"--A.D. 1630.
+
+A leaf from the National Portrait Album conceived by the Emperor
+AKBAR, and amplified and executed by JAHANGIR and SHAH JAHAN. The
+volume consists of portraits of the Royal Family of the GREAT MOGULS
+and their principal supporters. These historic personages are
+represented in the centre as single individuals, with their chief
+officials and retainers in the border around them.
+
+RAMDAS, a Hindu artist, was one of AKBAR'S artists who worked under
+JAHANGIR and SHAH JAHAN. His signed works include the following:
+
+BABURNAMA in the British Museum and South Kensington Museum.
+AKBARNAMA in South Kensington Museum.
+RAZMNAMA in the State Library, Jaipur, India.
+TIMURNAMA in the Oriental Public Library, Bankipur, India.
+
+[Illustration: "PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF
+FORTRESS, BY RAMDAS"--A.D. 1630]
+
+[Illustration: SILK FABRIC--A RARE EXAMPLE OF THE KIND PRODUCED BY THE
+ROYAL LOOMS AT ISPAHAN, WHICH FLOURISHED UNDER THE DIRECT PATRONAGE OF
+SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+"Oct. 18th, 1666.--To Court. It being ye first time his Ma'ty
+(CHARLES II of England) put himself solemnly into Eastern fashion of
+vest, changeing doublet, stiff collar, bands and cloake, into a comley
+dress, after ye Persian mode. I had sometime before presented an
+invective against our so much affecting the French fashion, to his
+Majesty, in which I took occasion to describe the comelinesse and
+usefulness of the Persian clothing, in ye very same manner his
+Ma'ty now clad himself."--JOHN EVELYN (A.D. 1666), celebrated
+historian and diarist.
+
+       *       *       *       *       *
+
+[PAGE 27]
+
+which is but ONE, reveals itself through countless phenomena which are
+but reflections of ONE. "The PHANTASMAL is the BRIDGE to the REAL,"
+says the mystic, and the immortal lines of J'AMI read:
+
+     _"Though in this world a hundred tasks thou tryest,
+     'Tis Love alone which from thyself will save thee.
+     Even from earthly love thy face avert not,
+     Since to the real it may serve to raise thee.
+     Ere A, B, C, are rightly apprehended,
+     How canst thou con the pages of the_ QUR'AN?
+     _A sage (so heard I) unto whom a scholar
+     Came craving counsel on the course before him,
+     Said, 'If thy steps be strangers to love's pathways,
+     Depart, learn Love, and then return before me,
+     For, shouldst thou fear to drink wine from form's Flagon,
+     Thou canst not drain the draughts of the Ideal.
+     But yet beware, Be not by form belated,
+     Strive rather with all speed the bridge to traverse.
+     If to the bourn thou fain wouldst bear thy baggage,
+     Upon the bridge let not thy footsteps linger."_[10]
+
+[Footnote 10: "Religious Systems of the World" (Swan Sonnenschein,
+1892).]
+
+The unreality of things material, the illusion of Self and desires,
+the perception that all living things and apparent phenomena reflected
+but one all-embracing GOOD and BEAUTY, was the philosophy of Hindu and
+all Oriental mystics of old; but they attempted to destroy the self
+and desires (Source of Sin) uncompromisingly and unreasonably. It was
+a philosophy "cold" and "bloodless", as Professor BROWNE points out,
+in trenchant terms. The MUHAMMADAN mystic became conscious that the
+stream cannot be crossed without the aid of the BRIDGE constructed for
+this purpose.
+
+Here (as it seems to us) lies the KEYNOTE, the mainspring of
+inspiration of artistic expression, which (for the lack of better
+designation) might be termed MUHAMMADAN ART: A merging of physical and
+spiritual, of worldly magnificence and eternal bliss.
+
+[CONTINUED ON PAGE THIRTY-ONE]
+
+       *       *       *       *       *
+
+THE PRINCES OF THE HOUSE OF TIMUR
+
+EMIR TIMUR (TIMUR-I-LANG) on the throne (A.D. 1335-1405)
+
+On the right of the throne:
+
+BABUR A.D. 1526-1530
+HUMAYUN A.D. 1530-1556
+AKBAR A.D. 1556-1605
+JAHANGIR A.D. 1605-1627
+SHAH JAHAN A.D. 1627-1658
+
+On the left are three sons of SHAH JAHAN:
+
+DARA SHIKOH
+SHAH SHUJA
+AURENGZIB
+(who succeeded Shah Jahan)
+
+MUGHAL Painting from the Imperial Library of DELHI, A.D. 1640
+
+[Illustration: THE PRINCES OF THE HOUSE OF TIMUR
+
+MUGHAL PAINTING FROM THE IMPERIAL LIBRARY OF DELHI, A.D. 1640]
+
+TALAR (HALL OF AUDIENCE) RUG
+
+From the looms of ISPAHAN or the adjoining city of JOSHAGAN. Made
+during the reign of SHAH SULEIMAN (A.D. 1667-1694), upon the model of
+CHAHAR BAGH Royal Garden at ISPAHAN, on the grounds of which the Royal
+Pavilion of HASHT BAHISHT (Eight Paradises) stands. The Rug measures
+29 feet by 9 feet 5 inches.
+
+LORD CURZON in his History of Persia, Vol. II, page 38, gives the
+following description of the Garden of CHAHAR BAGH:
+
+"At the upper extremity a two storeyed PAVILION connected by a
+corridor with the SERAGLIO of the palace, so as to enable the ladies
+of the harem to gaze unobserved upon the merry scene below, looked out
+upon the centre of the avenue. Water conducted in stone channels ran
+down the centre, falling in cascades from terrace to terrace, and was
+occasionally collected in great square or octagonal basins where cross
+roads cut the avenues. On either side of the central channel was a row
+of chenars and a paved pathway for pedestrians, then occurred a
+succession of open parterres, usually planted or sown. Next on either
+side was a second row of chenars, between which and flanking walls was
+a raised causeway for horsemen. At intervals corresponding with the
+successive terraces and basins, arched doorways with recessed open
+chambers overhead conducted through these walls into the various royal
+or noble gardens that stretched on either side and were known as the
+gardens of the throne; nightingale, vines, mulberries, Dervishes, etc.
+Some of these pavilions were places of public resort and were used as
+coffee houses, where when the business of the day was over the good
+burghers of Ispahan assembled to sip that beverage and inhale their
+Kalians the while. At the bottom quays lined the banks of the river
+and were bordered with the mansions of the nobility."
+
+[Illustration]
+
+       *       *       *       *       *
+
+[PAGE 31]
+
+A desire to reach to our higher instincts through the vehicle of our
+senses is apparent in all forms in which these masters sought to
+express themselves; we feel that, in their entrancing rhythmical
+compositions, in their incomparable poetry of flowing melodious words,
+in all their literature, in the inimitable colors and lyrical lines of
+all branches of representation of visual art. We feel the presence of
+an element prevailing throughout, and underlying every form of
+expression, an element which may be described in a word, "HUMAN".
+
+It is stated that the PERSIAN spirit and feeling were reflected in all
+forms of artistic expression of the MUHAMMADAN world. It is not,
+however, intended that other nations and countries over which ISLAM
+held sway, contributed nothing in the building of the influences of
+each were felt in varying degrees in the transmigration of ideas
+continued to take place between the nations, and the influences of
+each were felt in varying degrees in the transformation that resulted.
+In the fusion referred to, the influence of the PERSIAN culture was
+predominant, a fact so transparent, as to require (we may assume) no
+emphasis.
+
+It is not intended to deal here with particular aspects or divers
+branches of arts in which the genius of these artists found
+expression. In offering briefly these lines as to the general aspect
+of the Art of the MUHAMMADAN world, the intention is to offer an
+explanation to those who may not be familiar with its history.
+
+H. KEVORKIAN
+
+[Illustration]
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ARTS OF PERSIA ***
+
+***** This file should be named 26473-8.txt or 26473-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/6/4/7/26473/
+
+Produced by Fritz Ohrenschall, Linda Cantoni, and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/26473-8.zip b/26473-8.zip
new file mode 100644
index 0000000..26e2edc
--- /dev/null
+++ b/26473-8.zip
diff --git a/26473-h.zip b/26473-h.zip
new file mode 100644
index 0000000..1dc5020
--- /dev/null
+++ b/26473-h.zip
diff --git a/26473-h/26473-h.htm b/26473-h/26473-h.htm
new file mode 100644
index 0000000..6294ff7
--- /dev/null
+++ b/26473-h/26473-h.htm
@@ -0,0 +1,1465 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of The Arts of Persia, by H. Kevorkian.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+
+    p.tp {padding-top: 1em;}
+
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+
+    hr { width: 65%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    hr.short { width: 15%;
+	 margin-top: 1em;
+	 margin-bottom: 1em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 15%;
+         margin-right: 15%;
+        }
+
+    .pagenum  {position: absolute; left: 92%;
+               font-size: 75%; text-indent: 0em;
+               border-top: solid gray 1px; border-bottom: solid gray 1px;
+               background-color: inherit; font-weight: normal;
+               font-style: normal; font-variant: normal;
+               text-decoration: none;}
+
+    .bboxt {border: solid black 1px; margin-left: 10%; margin-right: 10%;}
+    .bbox  {border: solid black 1px; padding: 1em;}
+
+    .center    {text-align: center;}
+    .centertp  {text-align: center; padding-top: 1em;}
+    .centerbp  {text-align: center; padding-bottom: 1em;}
+    .centertbp {text-align: center; padding-top: 1em; padding-bottom: 1em;}
+    .right     {text-align: right;}
+
+    .smcap    {font-variant: small-caps;}
+    .sm       {font-size: 75%;}
+    .lg       {font-size: 150%;}
+    .u        {text-decoration: underline;}
+    .dropcap  {float: left; padding-right: 3px; font-size: 250%;
+               line-height: 83%;}
+    .super    {vertical-align: baseline;
+               position: relative; bottom: 0.4em;
+               font-size: 80%;}
+
+    .caption  {font-weight: bold; text-align: center; padding-bottom: 1em;}
+
+    .footnote         {margin-left: 10%; margin-right: 10%;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor {vertical-align: baseline;
+               position: relative; bottom: 0.4em;
+               font-size: 80%;
+               text-decoration: none;}
+
+    .notes    {background-color: #eeeeee; color: #000;
+               padding-top: .5em; padding-bottom: .5em;
+               padding-left: 1em; padding-right: 1em;
+               margin-left: 5%; margin-right: 5%;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Arts of Persia
+       & Other Countries of Islam
+
+Author: H. Kevorkian
+
+Release Date: August 28, 2008 [EBook #26473]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ARTS OF PERSIA ***
+
+
+
+
+Produced by Fritz Ohrenschall, Linda Cantoni, and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+<div class="notes">
+<p><i>Transcriber's Note:</i> The main text in this book is interspersed with
+numerous illustrations and accompanying text. In this e-book, the
+illustrations and accompanying text are set off from the main text by
+boxes. Where the original indicates that the main text is continued on
+another page, the continuation note (e.g., [CONTINUED ON PAGE THREE])
+is hyperlinked to the appropriate page.</p>
+</div>
+
+<p>&nbsp;</p>
+
+<div class="bboxt">
+<h2><span class="u">SPECIAL EXHIBITION</span></h2>
+
+<h1>THE ARTS OF PERSIA<br />
+<span class="sm">&amp; OTHER COUNTRIES OF ISLAM</span></h1>
+
+<hr class="short" />
+
+<h2>H. KEVORKIAN COLLECTION</h2>
+
+<p class="centertbp">
+<img src="images/title.jpg" width="407" height="500" alt="" title="" />
+</p>
+
+<h3>
+FROM THURSDAY, APRIL TWENTY-SECOND<br />
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE<br />
+ON THE ENTIRE THIRD FLOOR<br />
+</h3>
+
+
+<p class="center">
+<span class="lg">THE ANDERSON GALLERIES</span><br />
+489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK<br />
+1926<br />
+</p>
+</div>
+
+
+
+<hr />
+<p class="center">
+THE ENTIRE THIRD FLOOR GALLERIES<br />
+FROM THURSDAY, APRIL TWENTY-SECOND<br />
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE<br />
+<span class="sm">[OPEN WEEK-DAYS, 9-6; SUNDAYS, 2-5 P.M.]</span><br />
+</p>
+
+
+
+<hr />
+
+<p class="center">
+<img src="images/image01.jpg" width="310" height="500" alt="" title="" />
+</p>
+
+<p class="caption">STUCCO BAS-RELIEF, PAINTED IN POLYCHROME. EXCAVATED AT
+RAY (RHAGES) ANTERIOR TO THE XIITH CENTURY</p>
+
+<hr />
+
+<p><span class="dropcap">T</span>HIS exhibition has been arranged with a desire to meet the
+convenience of those who are interested in manifestations of the arts
+of different countries over which <span class="smcap">Islam</span> held sway at one time or other
+in the past. An effort has been made to show under one roof
+representative examples of works produced at different epochs and
+stages of the civilizations referred to, so that they may be seen, and
+perhaps studied, with the minimum expenditure of time.</p>
+
+<p>Fine examples of many branches of the arts of these peoples are in
+permanent exhibitions at the Metropolitan Museum, New York, and the
+museums of great cities throughout the country. It is difficult to
+find adequate words to describe the enchanting atmosphere of the halls
+at the Metropolitan Museum where Near Eastern art is installed; and
+the same can truly be said of the Museum of Fine Arts, Boston, and the
+University of Pennsylvania Museum, Philadelphia. These exhibitions
+must inevitably contribute to the enjoyment and education of countless
+visitors to these institutions, and will continue to do so in
+increasing degree to the enjoyment of generations to come.</p>
+
+<p>The present exhibition does not comprise a vast number of objects. Its
+claim to attention lies in the fact that it includes an important
+series of really first class works which are also of great historical
+importance. There will be on view as well some comparatively new types
+of objects of &aelig;sthetic and arch&aelig;ological interest, obtained as the
+result of recent excavations.</p>
+
+<p>The briefness of time available precluded the possibility of compiling
+a catalogue, as was at first intended. The present booklet is issued
+to explain the scope of the exhibition, and extend a cordial
+invitation to visit it.</p>
+
+<p class="right">H.K.</p>
+
+<hr />
+
+<div class="bbox">
+<p class="center">
+<img src="images/image02.jpg" width="500" height="264" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image02_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">MUHAMMAD (THE PROPHET) WITNESSES ALI (HIS SON-IN-LAW
+AND SUCCESSOR) DEFEAT AMR BEN ABDWAD</p>
+
+<p>One of the eight illustrations for a XIIIth Century Persian Manuscript
+entitled, "<span class="smcap">History of Tabari</span>", compiled A.H. 310 (A.D. 922). The
+present copy is a subsequent one of the Persian version, translated by
+<span class="smcap">al B'ala'mi</span>, A.H. 352.</p>
+
+<p>It is interesting to note that <span class="smcap">Tabari</span> records in the book here
+referred to, that three messages were sent by <span class="smcap">Muhammad</span> to <span class="smcap">Khusraw
+Parniz</span>, imparting the divine warnings. One of the messages, as
+recorded in an old Manuscript entitled <span class="smcap">Nihayat ul-Irab</span>, reads:</p>
+
+<p>"In the name of God, the merciful, the compassionate. From <span class="smcap">Muhammad</span>
+the Apostle of God to <span class="smcap">Khusraw</span> son of <span class="smcap">Hurmazd</span>. But to proceed. Verily I
+extol unto thee God, beside whom there is no other God. He it is who
+guarded me when I was an orphan, and made me rich when I was
+destitute, and guided me when I was straying in error. Only he who is
+bereft of understanding, and over whom calamity triumphs, rejects the
+message which I am sent to announce. O <span class="smcap">Khusraw</span>, submit and thou shalt
+be safe, or else prepare to wage with God and with his Apostle a war
+which shall not find them helpless. Farewell."</p>
+</div>
+
+
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">1</a></span></p>
+
+<p class="centertbp">
+<img src="images/image03.jpg" width="500" height="128" alt="" title="" />
+</p>
+
+<p>The rise of <span class="smcap">Islam</span> and its rapid advent to power, is perhaps the most
+surprising chapter of the history of mankind. The great empires,
+Persian and Byzantine, which were subjected to the urgent onslaught of
+this rising power may have been in an enfeebled condition as a result
+of excess of despotism and internal dissensions, as historians affirm;
+but that the element of the power must have been in the rationality of
+the principles contained in the teaching, there can be no doubt.</p>
+
+<p>"It was undoubtedly to <span class="smcap">Islam</span>, that simple yet majestic creed of which
+no unprejudiced student can ignore the grandeur, that Arabs owed the
+splendid part which they were destined to play in the history of
+civilization. In judging of the Arabian Prophet, western critics are
+too often inclined to ignore the condition from which he raised his
+country, and to forget that many institutions which they condemn were
+not introduced but only tolerated by <span class="smcap">Islam</span>. The early Muslims were
+very sensible of the immense amelioration in their life effected by
+<span class="smcap">Muhammad's</span> teachings. What this same amelioration was is well shown in
+the following passage from the oldest extant biography of the
+Prophet," says Professor G. Browne in his memorable work on Persia,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>
+and quotes <span class="smcap">Ibn Hisham</span> (A.H. 213: A.D. 828) in support.</p>
+
+<p>"During the first half of the seventh century," says <span class="smcap">Dozy</span> in</p>
+
+<p class="centerbp">[<a href="#Page_3">CONTINUED ON PAGE THREE</a>]</p>
+
+<div class="bbox">
+<p><span class='pagenum'><a name="Page_2" id="Page_2">2</a></span></p>
+
+<p class="centertp">
+<img src="images/image04.jpg" width="500" height="340" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image04_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">ACCESSION AT KUFA, A.D. 749, OF ABU'L-ABBAS ABDULLAH
+AS-SAFFAH FIRST CALIPH OF THE HOUSE OF ABBAS</p>
+
+<p>One of eight illustrations for a XIIIth Century Manuscript entitled,
+"<span class="smcap">History of Tabari</span>", compiled A.H. 310 (A.D. 922). The present copy is
+a subsequent one of the Persian version, translated by <span class="smcap">al B'ala'mi</span>,
+A.H. 352.</p>
+
+<p>"It was a dynasty abounding in good qualities, richly endowed with
+generous attributes, wherein the wares of science found a ready sale,
+the merchandise of culture was in great demand, the observances of
+religion were respected, charitable bequests flowed freely ... and the
+frontiers were bravely kept."&mdash;<span class="smcap">Al-Fakhri</span> (historian of fame of the
+XIIIth Century) on the <span class="smcap">Abbasid</span> Dynasty.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_3" id="Page_3">3</a></span></p>
+
+<p class="tp">his excellent work on <span class="smcap">Islam</span>,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> "everything followed its accustomed
+course in the Byzantine as in the Persian Empire. These two states
+continued always to dispute the possession of western Asia; they were,
+to all outward appearance, flourishing; the taxes which poured into
+the treasuries of their Kings reached considerable sums, and the
+magnificence, as well as the luxury of their capitals had become
+proverbial. But all this was but in appearance, for secret disease
+consumed both empires; they were burdened by a crushing despotism; on
+either hand the history of the dynasties formed a concatenation of
+horrors, that of the state a series of persecutions born of
+dissensions in religious matters. At this juncture it was that, all of
+a sudden, there emerged from deserts hardly known and appeared on the
+scene of the world a new people, hitherto divided into innumerable
+nomad tribes, who, for the most part, had been at war with one
+another, now for the first time united. It was this people,
+passionately attached to liberty, simple in their food and dress,
+noble and hospitable, gay and witty, but at the same time proud,
+irascible, and, once their passions were aroused, vindictive,
+irreconcilable and cruel, who overthrew in an instant the venerable
+but rotten empire of the Persians, snatched from the successors of
+Constantine their fairest provinces, trampled under their feet a
+Germanic kingdom but lately founded, and menaced the rest of Europe,
+while at the same time, at the other end of the world, its victorious
+armies penetrated to the Himalayas. Yet it was not like so many other
+conquering peoples, for it preached at the same time a new religion.
+In opposition to the dualism of the Persians and a degenerate
+Christianity, it announced a pure monotheism which was accepted by
+millions of men, and which, even in our own time, constitutes the
+religion of a tenth part of the human race."</p>
+
+<p>The teachings of <span class="smcap">Muhammad</span> were not of a nature to arouse</p>
+
+<p class="centerbp">[<a href="#Page_5">CONTINUED ON PAGE FIVE</a>]</p>
+
+<div class="bbox">
+<p><span class='pagenum'><a name="Page_4" id="Page_4">4</a></span></p>
+
+<p class="centertp">
+<img src="images/image05.jpg" width="342" height="500" alt="" title="" />
+</p>
+
+<p class="caption">POLYCHROME ENAMELLED GLASS MOSQUE LAMP OF THE XIIITH
+CENTURY</p>
+
+<p>Very few examples of this highly advanced art survive. They represent
+an extremely aristocratic manifestation of art and were executed by
+order of <span class="smcap">Mameluke Caliphs</span> of Egypt, and dedicated by them to their
+great Mosques, individually inscribed in magnificent calligraphy.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_5" id="Page_5">5</a></span></p>
+
+<p class="tp">intolerance.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> History does not record the practice of compulsory
+conversion in the scheme of conquest of early converts. "It is often
+supposed," says Professor <span class="smcap">Browne</span>, "that the choice offered by the
+warriors of <span class="smcap">Islam</span> was between the <span class="smcap">Qur'an</span> and the <span class="smcap">Sword</span>; this, however,
+is not the fact." There are innumerable evidences to the contrary
+which history records.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> It appears that the exemplary behavior of
+the Arabs, under their newly acquired faith, was the main factor not
+only in the success of their scheme of conquest, but also in the
+impression which it made on the defeated in determining them to adopt
+the faith which produced such upright warriors.</p>
+
+<p>The tremendous political upheaval that the evolution of <span class="smcap">Islam</span> brought
+in its train to the affairs of the world does not fall within the
+scope of this paper. A highly important fact, however, must not be
+lost sight of, that by consolidating and unifying the tottering states
+a new civilization was founded which knew how to turn to account the
+culture of the ancient states conquered. In this overwhelming
+transformation Persia came in, from the outset, to play the most
+conspicuous and important part. The</p>
+
+<p class="centerbp">[<a href="#Page_9">CONTINUED ON PAGE NINE</a>]</p>
+
+<div class="bbox">
+<p><span class='pagenum'><a name="Page_6" id="Page_6">6</a></span></p>
+
+<p class="centertp">
+<img src="images/image06.jpg" width="500" height="171" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image06_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">ROYAL IVORY BOX, WITH METAL MOUNTING. HISPANO-ARABIAN
+ART, XIITH-XIIITH CENTURY DECORATED IN ENAMEL AND GOLD, DEPICTING
+INSIGNIA OF SUCCESSORS OF UMAYYAD CALIPHS OF SPAIN, AND QUR'ANIC
+ROSETTES AND KUFIC CALLIGRAPHY OF THE HIGHEST DISTINCTION</p>
+
+<p><span class='pagenum'><a name="Page_7" id="Page_7">7</a></span></p>
+
+<p class="centertp">
+<img src="images/image07.jpg" width="371" height="500" alt="" title="" />
+</p>
+
+<p class="caption">FAIENCE CYLINDRICAL VASE, WITH RELIEF AND LUSTRE
+DECORATION. FROM FOSTAT (ANCIENT CAIRO), DYNASTY OF FATIMID
+ANTI-CALIPHS (A.D. 974-1171)</p>
+
+<p><span class='pagenum'><a name="Page_8" id="Page_8">8</a></span></p>
+
+<p class="centertp">
+<img src="images/image08.jpg" width="307" height="500" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image08_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">AN EARLY SAFAWID PAINTING (CIRCA A.D. 1525) OF
+EXQUISITE RHYTHM, DEPTH AND DIGNITY</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_9" id="Page_9">9</a></span></p>
+
+<p class="tp">artistic productions of the <span class="smcap">Muhammadan</span> world that have come down to us
+as living monuments, substantiate this statement without a shadow of
+doubt, which makes it unnecessary to resort to recorded history,
+although its pages abound with incontestable evidences.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+
+<p>It would be difficult to offer an explanation for the underlying unity
+and integrity of character manifest in the artistic expression of the
+<span class="smcap">Muhammadan</span> countries, of vast geographical range, without a clear
+understanding of the vital force contained in the teachings of the
+Arabian Apostle, and the characteristics of his people, destined to
+carry those teachings from one end of the earth to the other. For this
+reason the foregoing brief survey has been ventured.</p>
+
+<p>There can be no doubt that the pivot around which the artistic
+activities of <span class="smcap">Muhammadan</span> countries revolved, was Persia.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> She was to
+attain the function of the <span class="smcap">Sun</span>, element of</p>
+
+<p class="centerbp">[<a href="#Page_17">CONTINUED ON PAGE SEVENTEEN</a>]</p>
+
+<div class="bbox">
+<p><span class='pagenum'><a name="Page_10" id="Page_10">10</a></span></p>
+
+<p><b>ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA</b> (<span class="smcap">Epic of Kings</span>) of the
+XVth Century.</p>
+
+<p>Representing <span class="smcap">Timur-i-Lang</span> (A.H. 736-807) attending a festival. The
+name and the full titles of <span class="smcap">Timur</span> appear in excellent Thuluth
+lettering round the border of the rug upon which the monarch sits.</p>
+
+<p>This important Manuscript was presented by the Emperor of Russia to
+the Ambassador of Persia at St. Petersburg, A.D. 1829. The
+Ambassador's autograph inscription reads:</p>
+
+<p>"The <span class="smcap">Shahnama</span> graciously presented by H.M. the Emperor at my third
+visit&mdash;may it be omen of good fortune. <span class="smcap">Muhammad Ali ibni Ghafouri</span>
+Ambassador, 22nd of <span class="smcap">Rajab</span>, A.H. 1245."</p>
+
+<p>"<span class="smcap">Timur Beg</span> was seated in a portal, in front of the entrance of a
+beautiful Palace; and he was sitting on the ground.... The lord was
+seated cross-legged, on silken embroidered carpets, amongst round
+pillows. He was dressed in a robe of silk, with white headdress on his
+head, on the top of which there was a spinel ruby, with pearls and
+precious stones round it. As soon as the ambassadors saw the lord,
+they made a reverential bow, placing the knee on the ground, and
+crossing the arms on the breast; then they went forward and made
+another and then a third, remaining with their knees on the ground.
+The lord ordered them to rise and come forward.... Three <span class="smcap">Mirzas</span>, or
+secretaries, ... came and took the ambassadors by the arms, and led
+them forward until they stood before the lord.... He asked after the
+King, saying, 'How is my son the King? is he in good health?' When the
+ambassadors had answered, <span class="smcap">Timur Beg</span> turned to the knights who were
+seated around him, amongst whom were one of the sons of <span class="smcap">Toktamish</span>, the
+former Emperor of <span class="smcap">Tartary</span>, several chiefs of the blood of the late
+Emperor of <span class="smcap">Samarquand</span>, and others of the family of the lord himself,
+and said, 'Behold, here are the ambassadors sent by my son, the King
+of Spain, who is the greatest King of Franks, and lives at the end of
+the world. These Franks are truly great people, and I will give my
+benediction to the King of Spain, my son."&mdash;From the Diary of <span class="smcap">Ruy
+Gonzalez di Clavijo</span>, principal of the embassy despatched A.D. 1404 to
+the Court of <span class="smcap">Samarquand</span> by Henry III of Castile, Spain.</p>
+
+<p><span class="smcap">Clavijo</span> describes the beautiful gardens with their tiled palaces where
+banquets were given. The ambassador, who was invited, marvelled at the
+gorgeous tents, one of which "was so large and high that from a
+distance it looked like a castle, and it was a very wonderful thing to
+see, and possessed more beauty than it is possible to describe". It is
+interesting to notice that <span class="smcap">Sharaf-u-din</span> mentions the presence of the
+Ambassadors, "for," he writes, "even the smallest of fish have their
+place in the sea". Truly a delightful touch!&mdash;History of Persia, by
+<span class="smcap">Sir Percy Sykes</span>, Vol. II, page 133.<span class='pagenum'><a name="Page_11" id="Page_11">11</a></span></p>
+
+<p class="centertp">
+<img src="images/image09.jpg" width="500" height="367" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image09_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA (EPIC OF
+KINGS) OF THE XVTH CENTURY</p>
+
+<p><span class='pagenum'><a name="Page_12" id="Page_12">12</a></span></p>
+
+<p>"On the extreme of the western side of the royal precincts opening on
+to the <span class="smcap">Chahar Bagh</span> are a garden and building. The Garden was
+previously called "<span class="smcap">Bagh i Bulbul</span>" (Garden of Nightingales).&mdash;<span class="smcap">Lord
+Curzon</span>, History of Persia.</p>
+
+<p>"Night drawing on, all the pride of <span class="smcap">Spahaun</span> was met in the <span class="smcap">Chaur Baug</span>
+and grandees were airing themselves, prancing about with their
+numerous trains, striving to outdo each other in pomp and
+generosity."&mdash;<span class="smcap">Dr. Fryer</span>, recorded A.D. 1677.</p>
+
+<p><span class="smcap">Chardin</span>, who was at Ispahan at the time of <span class="smcap">Shah Suleiman's</span> reign
+(1667-1694), records in his "<span class="smcap">Voyages</span>", Vol. VIII, page 43:</p>
+
+<p>"When one walks in these places expressly made for the delights of
+love and when one passes through all these cabinets and niches, one's
+heart is melted to such an extent that to speak candidly, one always
+leaves with a very ill grace. The climate without doubt contributes
+much towards exciting this amorous disposition, but assuredly these
+places, although in some respects little more than cardboard castles,
+are nevertheless more smiling and agreeable than our most sumptuous
+palaces."</p>
+
+<p><span class="smcap">Lord Curzon</span> says (History of Persia, Vol. II, page 37) that "Even
+<span class="smcap">Chardin</span>, enthusiastic but seldom sentimental, was inspired to an
+unwonted outburst by the charms of <span class="smcap">Hasht Bahisht</span>".<span class='pagenum'><a name="Page_13" id="Page_13">13</a></span></p>
+
+<p class="centertp">
+<img src="images/image10.png" width="339" height="500" alt="" title="" />
+</p>
+
+<p class="caption">VIEW OF CHAHAR BAGH (FOUR GARDENS) AND HASHT BAHISHT
+(PAVILION OF EIGHT PARADISES) AT ISPAHAN. CONSTRUCTED BY SHAH SULEIMAN
+SAFAWI ABOUT A.D. 1670. REPRODUCTION FROM "LA PERSE, LA CHALDEE ET LA
+SUSIANE" (1887) BY DIEULAFOY</p>
+
+<p><span class='pagenum'><a name="Page_14" id="Page_14">14</a></span></p>
+
+<p><b>PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN</b> (Hall of Forty
+Pillars) built by <span class="smcap">Shah Abbas</span> the Great (A.D. 1588-1629).</p>
+
+<p>These are decorated with representations of scenes from the Royal
+Court of the great Shah, painted minutely by Court artists.</p>
+
+<p>"They transport us straight to the Court of the lordly <span class="smcap">Abbas</span> and his
+predecessors or successors on the throne.... We see the King engaged
+at some royal festivity enjoying the pleasure of the Bowl."&mdash;<span class="smcap">Lord
+Curzon</span>, History of Persia, Vol. II, page 34.</p>
+
+<p><span class="smcap">Ker Porter</span>, who saw the Palace of Chahal Situn in its perfect
+condition, records: "The exhaustless profusion of its splendid
+materials reflected not merely their own golden lights on each other,
+but all the variegated colours of the Garden, so that the whole
+surface seemed formed of polished silver and mother of pearl set with
+precious stones."</p>
+
+<p><span class="smcap">Lord Curzon</span>, who visited it soon after its last repair in 1891, quotes
+<span class="smcap">Ker Porter</span> and by way of contrast says: "The bulk of this superb
+decoration which still remains in the <span class="smcap">Throne Room</span> behind, to point
+bitter contrast, had on the walls of the <span class="smcap">Loggia</span> been ruthlessly
+obliterated by the brush of the painter, who had left in its place
+pink wash; had I caught the Pagan, I would gladly have suffocated him
+in a barrel of his own paint."&mdash;History of Persia, Vol. II, page 33.<span class='pagenum'><a name="Page_15" id="Page_15">15</a></span></p>
+
+<p class="centertp">
+<img src="images/image11.jpg" width="336" height="500" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image11_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN (HALL
+OF FORTY PILLARS) BUILT BY SHAH ABBAS THE GREAT (A.D. 1588-1629)</p>
+
+<p><span class='pagenum'><a name="Page_16" id="Page_16">16</a></span></p>
+
+<p class="centertp">
+<img src="images/image12.jpg" width="432" height="500" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image12_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">RIZA ABBASI, FAVORED COURT ARTIST, PORTRAYS EUROPEANS
+AT THE COURT OF SHAH ABBAS THE GREAT (A.D. 1588-1629)</p>
+
+<p>Detail of exquisitely painted woodwork from the Pavilion of <span class="smcap">Chahal
+Situn</span> (Hall of Forty Pillars), the Palace at Ispahan built by <span class="smcap">Shah
+Abbas</span>.</p>
+
+<p>The young Shah, who was pleased with the leader of the party
+(Europeans), gave him royal gifts, Sir Anthony Sherley records (1598),
+including "forty horses all furnished, two with exceeding rich
+saddles, plated with gold, and set with rubies and turquoises." To
+these he added camels, tents, and a sum of money.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_17" id="Page_17">17</a></span></p>
+
+<p class="tp">her old faith, source of sustaining energy; and continued to radiate
+into these planets of countries and races of the System, her
+all-stimulating cultural beams, the reflection of which is discernible
+in all artistic manifestations of those countries. In the field of
+literature, which is so little known in the western world, the
+influence is even greater than in the visual art with which we are
+concerned. <span class="smcap">Muhammadan</span> literature, be it Arabic, Turkish, or Persian,
+is <span class="smcap">Persian</span> in spirit and feeling.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p>
+
+<p>The fusion of <span class="smcap">Muhammadan</span> doctrine with this Aryan (Persian) culture of
+old,<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> is an important event in the history of Art. For out of this
+fusion came forth into being a new phase of artistic expression
+completely different, in form and spirit, from its predecessors.
+Probably of equal importance is the fact that, although practised by
+divers races and subjected to many developments, fluctuations and
+variations, it has retained throughout the centuries its identical
+characteristics. What was the vital force that brought about this
+cultural evolution and unification? The answer appears to be <span class="smcap">Religion</span>,
+as we shall see.</p>
+
+<p>The foundation of the <span class="smcap">Muhammadan Empire</span> was <span class="smcap">Religion</span>. It was to the
+Holy Standard that the nations bent</p>
+
+<p class="centerbp">[<a href="#Page_23">CONTINUED ON PAGE TWENTY-THREE</a>]</p>
+
+<div class="bbox">
+<p><span class='pagenum'><a name="Page_18" id="Page_18">18</a></span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+<i>"Lips sweet as sugar on my pen bestow,<br />
+And from my book let streams of odour flow."</i><br />
+<span style="margin-left: 14em;">&mdash;<span class="smcap">J'Ami</span>.</span><br />
+</td>
+</tr>
+</table>
+
+<h3>ILLUSTRATED AND ILLUMINATED MANUSCRIPT</h3>
+
+<p>The complete volume of "<span class="smcap">Yusuf-ou-Zalikha</span>", the popular poem by the
+famous mystic poet <span class="smcap">J'Ami</span>, based on the Biblical story of <span class="smcap">Joseph</span> and
+<span class="smcap">Potiphar's wife</span>. The scribe, <span class="smcap">Mir Ali Sultani</span>.</p>
+
+<p>The colophon reads:</p>
+
+<p>"Terminated by the sinner, humble <span class="smcap">Mir Ali Sultani</span> the penman, may God
+forgive his sins and shelter his faults. Terminated in the month of
+<span class="smcap">Moharram al Haram</span> in the year A.H. 944 (in letters) (A.D. 1537) in the
+glorious city of <span class="smcap">Bukhara</span>."</p>
+
+<p>The Dedication in the handwriting of the scribe, in ornate gold
+lettering, reads:</p>
+
+<p>"For his majesty, the <span class="smcap">August</span>, the just, the possessor of virtues, the
+great <span class="smcap">Khagan Ghazi Abd-ul-Aziz Bahadur Khan</span>, may his domain last
+forever."</p>
+
+<p>The autograph of the Emperor <span class="smcap">Shah Jahan</span>, the "<span class="smcap">Great Mogul</span>", on the
+magnificently decorated mount reads:</p>
+
+<p>"In the name of God compassionate and merciful this <span class="smcap">Yusuf-ou-Zalikha</span>
+treasured on the occasion of <span class="smcap">Blessed Accession</span>." (A.D. 1627)</p>
+
+<p>In confirmation of the foregoing, it is of great interest that
+<span class="smcap">Jahangir</span> makes special reference in his memoirs (Tuzuk-i-Jahangiri) to
+an incident, as of highest importance, that he was presented by
+<span class="smcap">Abd-al-Rahim Khan</span>, <span class="smcap">Khan-i-Khanan</span>, with a superb copy of <span class="smcap">J'Ami's</span> poem
+<span class="smcap">Yusuf-ou-Zalikha</span>, transcribed by <span class="smcap">Mir Ali Sultani</span>, "Prince of Penmen",
+and that the gift was appraised at "a thousand Muhr".<span class='pagenum'><a name="Page_19" id="Page_19">19</a></span></p>
+
+<p class="centertp">
+<img src="images/image13.jpg" width="500" height="408" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image13_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">COMPLETE ILLUSTRATED AND ILLUMINATED MANUSCRIPT OF
+"YUSUF-OU-ZALIKHA", BY THE FAMOUS MYSTIC POET J'AMI</p>
+
+<p><span class='pagenum'><a name="Page_20" id="Page_20">20</a></span></p>
+
+<h3>ONE OF THE ILLUSTRATIONS TO THE MANUSCRIPT YUSUF-OU-ZALIKHA</h3>
+
+<p><span class="smcap">Zalikha</span> in old age, broken and in poverty, meets <span class="smcap">Yusuf</span> in the market
+place in Egypt.</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+<i>"Where is thy youth, and thy beauty, and pride?"<br />
+"Gone, since I parted from thee," she replied.<br />
+"Where is the light of thine eye?" said he.<br />
+"Drowned in blood-tears for the loss of thee."<br />
+"Why is that cypress tree bowed and bent?"<br />
+"By absence from thee and my long lament."<br />
+"Where is thy pearl, and thy silver and gold,<br />
+And the diadem bright on thy head of old?"...</i><br />
+<span style="margin-left: 2em;">&mdash;Quotation from <span class="smcap">Yusuf-ou-Zalikha</span> (<span class="smcap">J'Ami</span>).</span><br />
+<span style="margin-left: 7em;">Translation of <span class="smcap">R.T. Griffith</span>.</span>
+</td>
+</tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_21" id="Page_21">21</a></span></p>
+
+<p class="centertbp">
+<img src="images/image14.jpg" width="309" height="500" alt="" title="" />
+</p>
+
+<p class="centerbp">[<a href="images/image14_lg.jpg">Enlarge</a>]</p>
+
+<hr class="short" />
+
+<p><span class='pagenum'><a name="Page_22" id="Page_22">22</a></span></p>
+
+<p class="centertp">
+<img src="images/image15.jpg" width="320" height="500" alt="" title="" />
+</p>
+
+<p class="caption">CHISELLED SILVER BOWL, DECORATED IN FILIGREE AND
+POLYCHROME ENAMEL. PERSIAN WORK OF THE XVITH CENTURY, PROBABLY
+EXECUTED IN ASIA MINOR FOR A PRINCELY OTTOMAN PATRON</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23">23</a></span></p>
+
+<p class="tp">and professed unqualified allegiance. A powerful political unity came
+into existence and continued for a period of <span class="smcap">six</span> centuries
+uninterrupted. The nations of this united kingdom of <span class="smcap">Islam</span> were thus
+merged into one unit, under the stimulus of one formal religion,
+freely transmigrating local ideas. Arts and culture were transformed,
+but the evolution thus caused by the Religion was essentially
+political in nature.</p>
+
+<p>"There is no God but <span class="smcap">God</span>," said the <span class="smcap">Apostle of Arabia</span>, but the poet
+reflected awhile, and his rejoinder was: "The Ways of God are as the
+number of <span class="smcap">souls of men</span>."</p>
+
+<p>The Prophet's religion was rational, its principles attainable; it
+secured for the poet social amelioration and physical comfort, but
+there was a voice from the depth of his soul that he could not
+silence. It was the voice of mystery; he was concerned with the
+problems of the "Wherefore, the Whence, and the Whither".... Was he
+not a Son of the land which <span class="smcap">Plotinus</span> visited to learn mystery of the
+Orient of Old?<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p>
+
+<p>We have to look therefore to the <span class="smcap">Religion</span>, "The Ways" of whose God
+"are as the number of Souls of Men", to perceive the true nature of
+the evolution of the artistic expression of these people.</p>
+
+<p>Souls with irresistible cravings for Mysticism, poets, artists,
+philosophers and the like, discovered for the first time from
+<span class="smcap">Muhammad's</span> formal teachings, which contained certain esoteric
+elements, that the senses, unreal and phenomenal, have yet an
+important mission to fulfill in the task which aims to escape from
+<span class="smcap">Self</span> (which is an illusion and the root of <span class="smcap">sin</span>, <span class="smcap">pain</span>, and <span class="smcap">sorrow</span>) and
+to attain the height where the eternal beauty,</p>
+
+<p class="centerbp">[<a href="#Page_27">CONTINUED ON PAGE TWENTY-SEVEN</a>]</p>
+
+<div class="bbox">
+<p><span class='pagenum'><a name="Page_24" id="Page_24">24</a></span></p>
+
+<p><b>"PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF FORTRESS, BY
+RAMDAS"</b>&mdash;A.D. 1630.</p>
+
+<p>A leaf from the National Portrait Album conceived by the Emperor
+<span class="smcap">Akbar</span>, and amplified and executed by <span class="smcap">Jahangir</span> and <span class="smcap">Shah Jahan</span>. The
+volume consists of portraits of the Royal Family of the <span class="smcap">Great Moguls</span>
+and their principal supporters. These historic personages are
+represented in the centre as single individuals, with their chief
+officials and retainers in the border around them.</p>
+
+<p><span class="smcap">Ramdas</span>, a Hindu artist, was one of <span class="smcap">Akbar's</span> artists who worked under
+<span class="smcap">Jahangir</span> and <span class="smcap">Shah Jahan</span>. His signed works include the following:</p>
+
+<p>
+<span class="smcap">Baburnama</span> in the British Museum and South Kensington Museum.<br />
+<span class="smcap">Akbarnama</span> in South Kensington Museum.<br />
+<span class="smcap">Razmnama</span> in the State Library, Jaipur, India.<br />
+<span class="smcap">Timurnama</span> in the Oriental Public Library, Bankipur, India.<br />
+<span class='pagenum'><a name="Page_25" id="Page_25">25</a></span></p>
+
+<p class="centertp">
+<img src="images/image16.jpg" width="333" height="500" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image16_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">"PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF
+FORTRESS, BY RAMDAS"&mdash;A.D. 1630</p>
+
+<p><span class='pagenum'><a name="Page_26" id="Page_26">26</a></span></p>
+
+<p class="centertp">
+<img src="images/image17.jpg" width="500" height="362" alt="" title="" />
+</p>
+
+<p class="caption">SILK FABRIC&mdash;A RARE EXAMPLE OF THE KIND PRODUCED BY THE
+ROYAL LOOMS AT ISPAHAN, WHICH FLOURISHED UNDER THE DIRECT PATRONAGE OF
+SHAH ABBAS THE GREAT (A.D. 1588-1629)</p>
+
+<p>"Oct. 18th, 1666.&mdash;To Court. It being y<span class="super">e</span> first time his Ma<span class="super">ty</span>
+(<span class="smcap">Charles</span> II of England) put himself solemnly into Eastern fashion of
+vest, changeing doublet, stiff collar, bands and cloake, into a comley
+dress, after y<span class="super">e</span> Persian mode. I had sometime before presented an
+invective against our so much affecting the French fashion, to his
+Majesty, in which I took occasion to describe the comelinesse and
+usefulness of the Persian clothing, in y<span class="super">e</span> very same manner his
+Ma<span class="super">ty</span> now clad himself."&mdash;<span class="smcap">John Evelyn</span> (A.D. 1666), celebrated
+historian and diarist.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_27" id="Page_27">27</a></span></p>
+
+<p class="tp">which is but <span class="smcap">One</span>, reveals itself through countless phenomena which are
+but reflections of <span class="smcap">One</span>. "The <span class="smcap">Phantasmal</span> is the <span class="smcap">Bridge</span> to the <span class="smcap">Real</span>,"
+says the mystic, and the immortal lines of <span class="smcap">J'ami</span> read:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+<i>"Though in this world a hundred tasks thou tryest,<br />
+'Tis Love alone which from thyself will save thee.<br />
+Even from earthly love thy face avert not,<br />
+Since to the real it may serve to raise thee.<br />
+Ere A, B, C, are rightly apprehended,<br />
+How canst thou con the pages of the</i> <span class="smcap">Qur'an</span><i>?<br />
+A sage (so heard I) unto whom a scholar<br />
+Came craving counsel on the course before him,<br />
+Said, 'If thy steps be strangers to love's pathways,<br />
+Depart, learn Love, and then return before me,<br />
+For, shouldst thou fear to drink wine from form's Flagon,<br />
+Thou canst not drain the draughts of the Ideal.<br />
+But yet beware, Be not by form belated,<br />
+Strive rather with all speed the bridge to traverse.<br />
+If to the bourn thou fain wouldst bear thy baggage,<br />
+Upon the bridge let not thy footsteps linger."</i><a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a><br />
+</td>
+</tr>
+</table>
+
+<p>The unreality of things material, the illusion of Self and desires,
+the perception that all living things and apparent phenomena reflected
+but one all-embracing <span class="smcap">Good</span> and <span class="smcap">Beauty</span>, was the philosophy of Hindu and
+all Oriental mystics of old; but they attempted to destroy the self
+and desires (Source of Sin) uncompromisingly and unreasonably. It was
+a philosophy "cold" and "bloodless", as Professor <span class="smcap">Browne</span> points out,
+in trenchant terms. The <span class="smcap">Muhammadan</span> mystic became conscious that the
+stream cannot be crossed without the aid of the <span class="smcap">Bridge</span> constructed for
+this purpose.</p>
+
+<p>Here (as it seems to us) lies the <span class="smcap">Keynote</span>, the mainspring of
+inspiration of artistic expression, which (for the lack of better
+designation) might be termed <span class="smcap">Muhammadan Art</span>: A merging of physical and
+spiritual, of worldly magnificence and eternal bliss.</p>
+
+<p class="centerbp">[<a href="#Page_31">CONTINUED ON PAGE THIRTY-ONE</a>]</p>
+
+<div class="bbox">
+<p><span class='pagenum'><a name="Page_28" id="Page_28">28</a></span></p>
+
+<h3>THE PRINCES OF THE HOUSE OF TIMUR</h3>
+
+<p><span class="smcap">Emir Timur</span> (<span class="smcap">Timur-i-Lang</span>) on the throne (A.D. 1335-1405)</p>
+
+<p>On the right of the throne:</p>
+
+<p>
+<span class="smcap">Babur</span> A.D. 1526-1530<br />
+<span class="smcap">Humayun</span> A.D. 1530-1556<br />
+<span class="smcap">Akbar</span> A.D. 1556-1605<br />
+<span class="smcap">Jahangir</span> A.D. 1605-1627<br />
+<span class="smcap">Shah Jahan</span> A.D. 1627-1658<br />
+</p>
+
+<p>On the left are three sons of <span class="smcap">Shah Jahan</span>:</p>
+
+<p>
+<span class="smcap">Dara Shikoh</span><br />
+<span class="smcap">Shah Shuja</span><br />
+<span class="smcap">Aurengzib</span><br />
+(who succeeded Shah Jahan)<br />
+</p>
+
+<p class="center"><span class="smcap">Mughal</span> Painting from the Imperial Library of <span class="smcap">Delhi</span>, A.D. 1640<span class='pagenum'><a name="Page_29" id="Page_29">29</a></span></p>
+
+<p class="centertp">
+<img src="images/image18.jpg" width="359" height="500" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image18_lg.jpg">Enlarge</a>]</p>
+
+<p class="caption">THE PRINCES OF THE HOUSE OF TIMUR<br />
+MUGHAL PAINTING FROM THE IMPERIAL LIBRARY OF DELHI, A.D. 1640</p>
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">30</a></span></p>
+
+<h3>TALAR (HALL OF AUDIENCE) RUG</h3>
+
+<p>From the looms of <span class="smcap">Ispahan</span> or the adjoining city of <span class="smcap">Joshagan</span>. Made
+during the reign of <span class="smcap">Shah Suleiman</span> (A.D. 1667-1694), upon the model of
+<span class="smcap">Chahar Bagh</span> Royal Garden at <span class="smcap">Ispahan</span>, on the grounds of which the Royal
+Pavilion of <span class="smcap">Hasht Bahisht</span> (Eight Paradises) stands. The Rug measures
+29 feet by 9 feet 5 inches.</p>
+
+<p><span class="smcap">Lord Curzon</span> in his History of Persia, Vol. II, page 38, gives the
+following description of the Garden of <span class="smcap">Chahar Bagh</span>:</p>
+
+<p>"At the upper extremity a two storeyed <span class="smcap">Pavilion</span> connected by a
+corridor with the <span class="smcap">Seraglio</span> of the palace, so as to enable the ladies
+of the harem to gaze unobserved upon the merry scene below, looked out
+upon the centre of the avenue. Water conducted in stone channels ran
+down the centre, falling in cascades from terrace to terrace, and was
+occasionally collected in great square or octagonal basins where cross
+roads cut the avenues. On either side of the central channel was a row
+of chenars and a paved pathway for pedestrians, then occurred a
+succession of open parterres, usually planted or sown. Next on either
+side was a second row of chenars, between which and flanking walls was
+a raised causeway for horsemen. At intervals corresponding with the
+successive terraces and basins, arched doorways with recessed open
+chambers overhead conducted through these walls into the various royal
+or noble gardens that stretched on either side and were known as the
+gardens of the throne; nightingale, vines, mulberries, Dervishes, etc.
+Some of these pavilions were places of public resort and were used as
+coffee houses, where when the business of the day was over the good
+burghers of Ispahan assembled to sip that beverage and inhale their
+Kalians the while. At the bottom quays lined the banks of the river
+and were bordered with the mansions of the nobility."</p>
+
+<p class="centertp">
+<img src="images/image19.jpg" width="175" height="500" alt="" title="" />
+</p>
+
+<p class="center">[<a href="images/image19_lg.jpg">Enlarge</a>]</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_31" id="Page_31">31</a></span></p>
+
+<p class="tp">A desire to reach to our higher instincts through the vehicle of our
+senses is apparent in all forms in which these masters sought to
+express themselves; we feel that, in their entrancing rhythmical
+compositions, in their incomparable poetry of flowing melodious words,
+in all their literature, in the inimitable colors and lyrical lines of
+all branches of representation of visual art. We feel the presence of
+an element prevailing throughout, and underlying every form of
+expression, an element which may be described in a word, "<span class="smcap">Human</span>".</p>
+
+<p>It is stated that the <span class="smcap">Persian</span> spirit and feeling were reflected in all
+forms of artistic expression of the <span class="smcap">Muhammadan</span> world. It is not,
+however, intended that other nations and countries over which <span class="smcap">Islam</span>
+held sway, contributed nothing in the building of the influences of
+each were felt in varying degrees in the transmigration of ideas
+continued to take place between the nations, and the influences of
+each were felt in varying degrees in the transformation that resulted.
+In the fusion referred to, the influence of the <span class="smcap">Persian</span> culture was
+predominant, a fact so transparent, as to require (we may assume) no
+emphasis.</p>
+
+<p>It is not intended to deal here with particular aspects or divers
+branches of arts in which the genius of these artists found
+expression. In offering briefly these lines as to the general aspect
+of the Art of the <span class="smcap">Muhammadan</span> world, the intention is to offer an
+explanation to those who may not be familiar with its history.</p>
+
+<p class="right"><span class="smcap">H. Kevorkian</span></p>
+
+<p class="centertp">
+<img src="images/image20.jpg" width="500" height="249" alt="" title="" />
+</p>
+
+
+
+<hr />
+<h2>FOOTNOTES</h2>
+
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> "Literary History of Persia," by Edward G. Browne, M.A.,
+M.B., Vol. I, page 186.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Translated into French by Victor Chauvin under the title
+of "Essai sur l'Histoire de l'Islamisme" (Leyden and Paris, 1879).</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> "Righteousness is not that ye turn your faces to the East
+and to the West, but righteousness is this: Whosoever believeth in
+God, and the last day, and the angels, and the book, and the prophets;
+and whoso, for the love of God, giveth of his wealth unto his kindred,
+and unto orphans, and the poor, and the traveller, and to those who
+crave alms, and for the release of the captives; and whoso observeth
+prayer and giveth in charity; and those who, when they have
+covenanted, fulfil their covenant; and who are patient in adversity
+and hardship, and in times of violence: these are the righteous and
+they that fear the Lord."&mdash;<span class="smcap">Qur'an, Sura II</span>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> The treaty concluded by <span class="smcap">Habib b. Maslama</span> with the people
+of <span class="smcap">Dabil</span> in Armenia ran as follows: "In the name of God the merciful,
+the clement. This is a letter from <span class="smcap">Habib b. Maslama</span> to the people of
+<span class="smcap">Dabil</span>, Christians, Magians, and Jews, such of them as are present and
+such of them as are absent. Verily I guarantee the safety of your
+lives, properties, churches, temples and city walls; ye are secure,
+and it is incumbent upon us faithfully to observe this treaty so long
+as you observe it and pay the poll-tax and the land-tax. God is
+witness, and he sufficeth as a witness."&mdash;<span class="smcap">Qur'an</span>, V. 104. Concerning
+the acceptance of the Poll-Tax from <span class="smcap">Zoroastrians</span>, as well as from Jews
+and Christians. <span class="smcap">A. von Kremer's</span> "Kulturgeschichte d. Orients," Vol. I,
+page 59.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> "Thus it is by no means correct to imply that the two or
+three centuries immediately following the <span class="smcap">Muhammadan</span> conquest of
+Persia were a blank page in the intellectual life of its people. It
+is, on the contrary, a period of immense and unique interest, of
+fusion between the old and the new, of transformation of forms and
+transmigration of ideas, but in no wise of stagnation or death.
+Politically, it is true, Persia ceased for a while to enjoy a separate
+national existence, being merged in that great <span class="smcap">Muhammadan Empire</span> which
+stretched from <span class="smcap">Gibraltar</span> to the <span class="smcap">Jaxartes</span>; but in the intellectual
+domain she soon began to assert the supremacy to which the ability and
+subtlety of her people entitled her. Even the forms of State
+organization were largely adapted from Persian models."&mdash;<span class="smcap">Al-Fakhri</span>
+(ed. <span class="smcap">Ahlwardt</span>, page 101), on the organization of the <span class="smcap">Diwans</span> or
+Government offices.
+</p><p>
+"In the finance department not only was the Persian system adopted, but
+the Persian language and notation continued to be used till the time
+of <span class="smcap">al-Hajjaj b. Yusuf</span> (about A.D. 700)."&mdash;<span class="smcap">Edward G. Browne</span>, "Literary
+History of Persia", Vol. I, page 204.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> "The ascendancy of the Persians over the Arabs, that is
+to say of the conquered over the victors, had already for a long while
+been in course of preparation; it became complete when the <span class="smcap">Abbasids</span>,
+who owed their elevation to the Persians, ascended the throne (A.D.
+749). The most distinguished personages at court were consequently
+Persians. The famous <span class="smcap">Barmecides</span> were descended from a Persian noble
+who had been superintendent of the Fire Temple at <span class="smcap">Balkh</span>. <span class="smcap">Afshin</span>, the
+all-powerful favorite of the Caliph <span class="smcap">al-Mutasim</span>, was a scion of the
+Princes of <span class="smcap">Usrushna</span> in Transoxiana."&mdash;<span class="smcap">Dozy</span>, "Histoire de
+l'Islamisme".</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> "With the rise of <span class="smcap">Persian</span> influence, there opened an era
+of culture, toleration, and scientific research. The practice of oral
+tradition was also giving place to recorded statement and historical
+narrative,&mdash;a change hastened by the scholarly tendencies introduced
+from the East."&mdash;<span class="smcap">Sir William Muir</span>, on the rise of the Abbasid
+Dynasty.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> "<span class="smcap">Persian</span> influence increased at the court of the <span class="smcap">Caliphs</span>,
+and reached its zenith under <span class="smcap">al-Hadi</span>, <span class="smcap">Harunu'r-Rashid</span>, and <span class="smcap">al-Mamun</span>.
+Most of the ministers of the last were <span class="smcap">Persians</span> or of <span class="smcap">Persian</span>
+extraction. In <span class="smcap">Baghdad</span>, <span class="smcap">Persian</span> fashions continued to enjoy an
+increasing ascendancy. The old <span class="smcap">Persian</span> festivals of the <span class="smcap">Nawruz</span>,
+<span class="smcap">Mihrgan</span>, and <span class="smcap">Ram</span> were celebrated. <span class="smcap">Persian</span> raiment was the official
+court dress, and the tall, black, conical <span class="smcap">Persian</span> hats were already
+prescribed as official by the second <span class="smcap">Abbasid</span> Caliph (in A.H. 153: A.D.
+770). At the court the customs of the <span class="smcap">Sassanian</span> Kings were imitated,
+and garments decorated with golden inscriptions were introduced, which
+it was the exclusive privilege of the ruler to bestow. A coin of the
+Caliph <span class="smcap">al-Mutawakkil</span> shows us this Prince actually clothed in true
+<span class="smcap">Persian</span> fashions".&mdash;<span class="smcap">Von Kremer</span>, Streitzuge, page 32.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> "Il prit un si grand go&ucirc;t pour la philosophie qu'il se
+proposa d'&eacute;tudier celle qui &eacute;tait enseign&eacute;e chez les Perses et celle
+qui pr&eacute;valait chez les Indiens. Lorsque l'emp&eacute;reur Gordien se pr&eacute;para
+&agrave; faire son exp&eacute;dition contre les Perses, Plotin, alors &acirc;g&eacute; de
+trente-neuf ans, se mit &agrave; la suite de l'arm&eacute;e. Il avait pass&eacute; dix
+ann&eacute;es enti&egrave;res pr&egrave;s d'Ammonius. Gordien ayant &eacute;t&eacute; tu&eacute; en Mesopotamie,
+Plotin e&ucirc;t assez de peine &agrave; se sauver &agrave; Antioche."&mdash;<span class="smcap">Porphyry on
+Plotinus</span>: Translation of the Enneads of Plotinus (Bouillet; Paris,
+1857).</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> "Religious Systems of the World" (Swan Sonnenschein,
+1892).</p></div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ARTS OF PERSIA ***
+
+***** This file should be named 26473-h.htm or 26473-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/6/4/7/26473/
+
+Produced by Fritz Ohrenschall, Linda Cantoni, and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/26473-h/images/image01.jpg b/26473-h/images/image01.jpg
new file mode 100644
index 0000000..e3995e8
--- /dev/null
+++ b/26473-h/images/image01.jpg
diff --git a/26473-h/images/image02.jpg b/26473-h/images/image02.jpg
new file mode 100644
index 0000000..fb4c5a7
--- /dev/null
+++ b/26473-h/images/image02.jpg
diff --git a/26473-h/images/image02_lg.jpg b/26473-h/images/image02_lg.jpg
new file mode 100644
index 0000000..ce9c9bb
--- /dev/null
+++ b/26473-h/images/image02_lg.jpg
diff --git a/26473-h/images/image03.jpg b/26473-h/images/image03.jpg
new file mode 100644
index 0000000..b608eb7
--- /dev/null
+++ b/26473-h/images/image03.jpg
diff --git a/26473-h/images/image04.jpg b/26473-h/images/image04.jpg
new file mode 100644
index 0000000..431069b
--- /dev/null
+++ b/26473-h/images/image04.jpg
diff --git a/26473-h/images/image04_lg.jpg b/26473-h/images/image04_lg.jpg
new file mode 100644
index 0000000..9326bc0
--- /dev/null
+++ b/26473-h/images/image04_lg.jpg
diff --git a/26473-h/images/image05.jpg b/26473-h/images/image05.jpg
new file mode 100644
index 0000000..54d928b
--- /dev/null
+++ b/26473-h/images/image05.jpg
diff --git a/26473-h/images/image06.jpg b/26473-h/images/image06.jpg
new file mode 100644
index 0000000..e2f2793
--- /dev/null
+++ b/26473-h/images/image06.jpg
diff --git a/26473-h/images/image06_lg.jpg b/26473-h/images/image06_lg.jpg
new file mode 100644
index 0000000..781d9c5
--- /dev/null
+++ b/26473-h/images/image06_lg.jpg
diff --git a/26473-h/images/image07.jpg b/26473-h/images/image07.jpg
new file mode 100644
index 0000000..99903fc
--- /dev/null
+++ b/26473-h/images/image07.jpg
diff --git a/26473-h/images/image08.jpg b/26473-h/images/image08.jpg
new file mode 100644
index 0000000..880f62c
--- /dev/null
+++ b/26473-h/images/image08.jpg
diff --git a/26473-h/images/image08_lg.jpg b/26473-h/images/image08_lg.jpg
new file mode 100644
index 0000000..df18b4e
--- /dev/null
+++ b/26473-h/images/image08_lg.jpg
diff --git a/26473-h/images/image09.jpg b/26473-h/images/image09.jpg
new file mode 100644
index 0000000..a5cc483
--- /dev/null
+++ b/26473-h/images/image09.jpg
diff --git a/26473-h/images/image09_lg.jpg b/26473-h/images/image09_lg.jpg
new file mode 100644
index 0000000..a9b45b0
--- /dev/null
+++ b/26473-h/images/image09_lg.jpg
diff --git a/26473-h/images/image10.png b/26473-h/images/image10.png
new file mode 100644
index 0000000..c0cc5ce
--- /dev/null
+++ b/26473-h/images/image10.png
diff --git a/26473-h/images/image11.jpg b/26473-h/images/image11.jpg
new file mode 100644
index 0000000..e9f6889
--- /dev/null
+++ b/26473-h/images/image11.jpg
diff --git a/26473-h/images/image11_lg.jpg b/26473-h/images/image11_lg.jpg
new file mode 100644
index 0000000..1992db3
--- /dev/null
+++ b/26473-h/images/image11_lg.jpg
diff --git a/26473-h/images/image12.jpg b/26473-h/images/image12.jpg
new file mode 100644
index 0000000..0379fc9
--- /dev/null
+++ b/26473-h/images/image12.jpg
diff --git a/26473-h/images/image12_lg.jpg b/26473-h/images/image12_lg.jpg
new file mode 100644
index 0000000..df91aad
--- /dev/null
+++ b/26473-h/images/image12_lg.jpg
diff --git a/26473-h/images/image13.jpg b/26473-h/images/image13.jpg
new file mode 100644
index 0000000..63d7b07
--- /dev/null
+++ b/26473-h/images/image13.jpg
diff --git a/26473-h/images/image13_lg.jpg b/26473-h/images/image13_lg.jpg
new file mode 100644
index 0000000..d3df511
--- /dev/null
+++ b/26473-h/images/image13_lg.jpg
diff --git a/26473-h/images/image14.jpg b/26473-h/images/image14.jpg
new file mode 100644
index 0000000..3edbfb5
--- /dev/null
+++ b/26473-h/images/image14.jpg
diff --git a/26473-h/images/image14_lg.jpg b/26473-h/images/image14_lg.jpg
new file mode 100644
index 0000000..62acf54
--- /dev/null
+++ b/26473-h/images/image14_lg.jpg
diff --git a/26473-h/images/image15.jpg b/26473-h/images/image15.jpg
new file mode 100644
index 0000000..197a25c
--- /dev/null
+++ b/26473-h/images/image15.jpg
diff --git a/26473-h/images/image16.jpg b/26473-h/images/image16.jpg
new file mode 100644
index 0000000..837ef1d
--- /dev/null
+++ b/26473-h/images/image16.jpg
diff --git a/26473-h/images/image16_lg.jpg b/26473-h/images/image16_lg.jpg
new file mode 100644
index 0000000..81343ee
--- /dev/null
+++ b/26473-h/images/image16_lg.jpg
diff --git a/26473-h/images/image17.jpg b/26473-h/images/image17.jpg
new file mode 100644
index 0000000..59956d0
--- /dev/null
+++ b/26473-h/images/image17.jpg
diff --git a/26473-h/images/image18.jpg b/26473-h/images/image18.jpg
new file mode 100644
index 0000000..64d0c77
--- /dev/null
+++ b/26473-h/images/image18.jpg
diff --git a/26473-h/images/image18_lg.jpg b/26473-h/images/image18_lg.jpg
new file mode 100644
index 0000000..839f3be
--- /dev/null
+++ b/26473-h/images/image18_lg.jpg
diff --git a/26473-h/images/image19.jpg b/26473-h/images/image19.jpg
new file mode 100644
index 0000000..845fc99
--- /dev/null
+++ b/26473-h/images/image19.jpg
diff --git a/26473-h/images/image19_lg.jpg b/26473-h/images/image19_lg.jpg
new file mode 100644
index 0000000..e1be320
--- /dev/null
+++ b/26473-h/images/image19_lg.jpg
diff --git a/26473-h/images/image20.jpg b/26473-h/images/image20.jpg
new file mode 100644
index 0000000..5478aab
--- /dev/null
+++ b/26473-h/images/image20.jpg
diff --git a/26473-h/images/title.jpg b/26473-h/images/title.jpg
new file mode 100644
index 0000000..d1a2322
--- /dev/null
+++ b/26473-h/images/title.jpg
diff --git a/26473-page-images/f0001-image.jpg b/26473-page-images/f0001-image.jpg
new file mode 100644
index 0000000..9b5ee8e
--- /dev/null
+++ b/26473-page-images/f0001-image.jpg
diff --git a/26473-page-images/f0001.png b/26473-page-images/f0001.png
new file mode 100644
index 0000000..80e4fa2
--- /dev/null
+++ b/26473-page-images/f0001.png
diff --git a/26473-page-images/f0002.png b/26473-page-images/f0002.png
new file mode 100644
index 0000000..bf1a9bb
--- /dev/null
+++ b/26473-page-images/f0002.png
diff --git a/26473-page-images/f0003-image.jpg b/26473-page-images/f0003-image.jpg
new file mode 100644
index 0000000..962926d
--- /dev/null
+++ b/26473-page-images/f0003-image.jpg
diff --git a/26473-page-images/f0003.png b/26473-page-images/f0003.png
new file mode 100644
index 0000000..573c290
--- /dev/null
+++ b/26473-page-images/f0003.png
diff --git a/26473-page-images/f0004.png b/26473-page-images/f0004.png
new file mode 100644
index 0000000..b2c81bb
--- /dev/null
+++ b/26473-page-images/f0004.png
diff --git a/26473-page-images/f0005-image.jpg b/26473-page-images/f0005-image.jpg
new file mode 100644
index 0000000..31e3942
--- /dev/null
+++ b/26473-page-images/f0005-image.jpg
diff --git a/26473-page-images/f0005.png b/26473-page-images/f0005.png
new file mode 100644
index 0000000..3345a5a
--- /dev/null
+++ b/26473-page-images/f0005.png
diff --git a/26473-page-images/p0001-image.jpg b/26473-page-images/p0001-image.jpg
new file mode 100644
index 0000000..28ce4bc
--- /dev/null
+++ b/26473-page-images/p0001-image.jpg
diff --git a/26473-page-images/p0001.png b/26473-page-images/p0001.png
new file mode 100644
index 0000000..aad9b89
--- /dev/null
+++ b/26473-page-images/p0001.png
diff --git a/26473-page-images/p0002-image.jpg b/26473-page-images/p0002-image.jpg
new file mode 100644
index 0000000..c506b0c
--- /dev/null
+++ b/26473-page-images/p0002-image.jpg
diff --git a/26473-page-images/p0002.png b/26473-page-images/p0002.png
new file mode 100644
index 0000000..9b5e15b
--- /dev/null
+++ b/26473-page-images/p0002.png
diff --git a/26473-page-images/p0003.png b/26473-page-images/p0003.png
new file mode 100644
index 0000000..34bc8b9
--- /dev/null
+++ b/26473-page-images/p0003.png
diff --git a/26473-page-images/p0004-image.jpg b/26473-page-images/p0004-image.jpg
new file mode 100644
index 0000000..175b33b
--- /dev/null
+++ b/26473-page-images/p0004-image.jpg
diff --git a/26473-page-images/p0004.png b/26473-page-images/p0004.png
new file mode 100644
index 0000000..bba678e
--- /dev/null
+++ b/26473-page-images/p0004.png
diff --git a/26473-page-images/p0005.png b/26473-page-images/p0005.png
new file mode 100644
index 0000000..0f0e5e2
--- /dev/null
+++ b/26473-page-images/p0005.png
diff --git a/26473-page-images/p0006-image.jpg b/26473-page-images/p0006-image.jpg
new file mode 100644
index 0000000..e98c8e6
--- /dev/null
+++ b/26473-page-images/p0006-image.jpg
diff --git a/26473-page-images/p0006.png b/26473-page-images/p0006.png
new file mode 100644
index 0000000..67bc194
--- /dev/null
+++ b/26473-page-images/p0006.png
diff --git a/26473-page-images/p0007-image.jpg b/26473-page-images/p0007-image.jpg
new file mode 100644
index 0000000..83068fd
--- /dev/null
+++ b/26473-page-images/p0007-image.jpg
diff --git a/26473-page-images/p0007.png b/26473-page-images/p0007.png
new file mode 100644
index 0000000..9ec548d
--- /dev/null
+++ b/26473-page-images/p0007.png
diff --git a/26473-page-images/p0008-image.jpg b/26473-page-images/p0008-image.jpg
new file mode 100644
index 0000000..d1cc53b
--- /dev/null
+++ b/26473-page-images/p0008-image.jpg
diff --git a/26473-page-images/p0008.png b/26473-page-images/p0008.png
new file mode 100644
index 0000000..44f5348
--- /dev/null
+++ b/26473-page-images/p0008.png
diff --git a/26473-page-images/p0009.png b/26473-page-images/p0009.png
new file mode 100644
index 0000000..7c532b7
--- /dev/null
+++ b/26473-page-images/p0009.png
diff --git a/26473-page-images/p0010.png b/26473-page-images/p0010.png
new file mode 100644
index 0000000..c9c85a1
--- /dev/null
+++ b/26473-page-images/p0010.png
diff --git a/26473-page-images/p0011-image.jpg b/26473-page-images/p0011-image.jpg
new file mode 100644
index 0000000..6349c68
--- /dev/null
+++ b/26473-page-images/p0011-image.jpg
diff --git a/26473-page-images/p0011.png b/26473-page-images/p0011.png
new file mode 100644
index 0000000..dca4a03
--- /dev/null
+++ b/26473-page-images/p0011.png
diff --git a/26473-page-images/p0012.png b/26473-page-images/p0012.png
new file mode 100644
index 0000000..dec0cea
--- /dev/null
+++ b/26473-page-images/p0012.png
diff --git a/26473-page-images/p0013-image.jpg b/26473-page-images/p0013-image.jpg
new file mode 100644
index 0000000..ff72edb
--- /dev/null
+++ b/26473-page-images/p0013-image.jpg
diff --git a/26473-page-images/p0013.png b/26473-page-images/p0013.png
new file mode 100644
index 0000000..f67c455
--- /dev/null
+++ b/26473-page-images/p0013.png
diff --git a/26473-page-images/p0014.png b/26473-page-images/p0014.png
new file mode 100644
index 0000000..0e1c3f9
--- /dev/null
+++ b/26473-page-images/p0014.png
diff --git a/26473-page-images/p0015-image.jpg b/26473-page-images/p0015-image.jpg
new file mode 100644
index 0000000..dadd751
--- /dev/null
+++ b/26473-page-images/p0015-image.jpg
diff --git a/26473-page-images/p0015.png b/26473-page-images/p0015.png
new file mode 100644
index 0000000..e35c79b
--- /dev/null
+++ b/26473-page-images/p0015.png
diff --git a/26473-page-images/p0016-image.jpg b/26473-page-images/p0016-image.jpg
new file mode 100644
index 0000000..38ecbdb
--- /dev/null
+++ b/26473-page-images/p0016-image.jpg
diff --git a/26473-page-images/p0016.png b/26473-page-images/p0016.png
new file mode 100644
index 0000000..cc408c7
--- /dev/null
+++ b/26473-page-images/p0016.png
diff --git a/26473-page-images/p0017.png b/26473-page-images/p0017.png
new file mode 100644
index 0000000..8810510
--- /dev/null
+++ b/26473-page-images/p0017.png
diff --git a/26473-page-images/p0018.png b/26473-page-images/p0018.png
new file mode 100644
index 0000000..d8f65e1
--- /dev/null
+++ b/26473-page-images/p0018.png
diff --git a/26473-page-images/p0019-image.jpg b/26473-page-images/p0019-image.jpg
new file mode 100644
index 0000000..648368b
--- /dev/null
+++ b/26473-page-images/p0019-image.jpg
diff --git a/26473-page-images/p0019.png b/26473-page-images/p0019.png
new file mode 100644
index 0000000..4dbb283
--- /dev/null
+++ b/26473-page-images/p0019.png
diff --git a/26473-page-images/p0020.png b/26473-page-images/p0020.png
new file mode 100644
index 0000000..5cae30f
--- /dev/null
+++ b/26473-page-images/p0020.png
diff --git a/26473-page-images/p0021-image.jpg b/26473-page-images/p0021-image.jpg
new file mode 100644
index 0000000..ec7fca8
--- /dev/null
+++ b/26473-page-images/p0021-image.jpg
diff --git a/26473-page-images/p0021.png b/26473-page-images/p0021.png
new file mode 100644
index 0000000..b9fbdce
--- /dev/null
+++ b/26473-page-images/p0021.png
diff --git a/26473-page-images/p0022-image.jpg b/26473-page-images/p0022-image.jpg
new file mode 100644
index 0000000..068daae
--- /dev/null
+++ b/26473-page-images/p0022-image.jpg
diff --git a/26473-page-images/p0022.png b/26473-page-images/p0022.png
new file mode 100644
index 0000000..48f059e
--- /dev/null
+++ b/26473-page-images/p0022.png
diff --git a/26473-page-images/p0023.png b/26473-page-images/p0023.png
new file mode 100644
index 0000000..c337828
--- /dev/null
+++ b/26473-page-images/p0023.png
diff --git a/26473-page-images/p0024.png b/26473-page-images/p0024.png
new file mode 100644
index 0000000..ff9cad4
--- /dev/null
+++ b/26473-page-images/p0024.png
diff --git a/26473-page-images/p0025-image.jpg b/26473-page-images/p0025-image.jpg
new file mode 100644
index 0000000..06bedaa
--- /dev/null
+++ b/26473-page-images/p0025-image.jpg
diff --git a/26473-page-images/p0025.png b/26473-page-images/p0025.png
new file mode 100644
index 0000000..af7e7a7
--- /dev/null
+++ b/26473-page-images/p0025.png
diff --git a/26473-page-images/p0026-image.jpg b/26473-page-images/p0026-image.jpg
new file mode 100644
index 0000000..dfd571d
--- /dev/null
+++ b/26473-page-images/p0026-image.jpg
diff --git a/26473-page-images/p0026.png b/26473-page-images/p0026.png
new file mode 100644
index 0000000..96e5ed3
--- /dev/null
+++ b/26473-page-images/p0026.png
diff --git a/26473-page-images/p0027.png b/26473-page-images/p0027.png
new file mode 100644
index 0000000..a88f708
--- /dev/null
+++ b/26473-page-images/p0027.png
diff --git a/26473-page-images/p0028.png b/26473-page-images/p0028.png
new file mode 100644
index 0000000..a0365f4
--- /dev/null
+++ b/26473-page-images/p0028.png
diff --git a/26473-page-images/p0029-image.jpg b/26473-page-images/p0029-image.jpg
new file mode 100644
index 0000000..0291a31
--- /dev/null
+++ b/26473-page-images/p0029-image.jpg
diff --git a/26473-page-images/p0029.png b/26473-page-images/p0029.png
new file mode 100644
index 0000000..418b220
--- /dev/null
+++ b/26473-page-images/p0029.png
diff --git a/26473-page-images/p0030.png b/26473-page-images/p0030.png
new file mode 100644
index 0000000..028e83d
--- /dev/null
+++ b/26473-page-images/p0030.png
diff --git a/26473-page-images/p0031-image.jpg b/26473-page-images/p0031-image.jpg
new file mode 100644
index 0000000..7452a87
--- /dev/null
+++ b/26473-page-images/p0031-image.jpg
diff --git a/26473-page-images/p0031.png b/26473-page-images/p0031.png
new file mode 100644
index 0000000..a6237d2
--- /dev/null
+++ b/26473-page-images/p0031.png
diff --git a/26473-page-images/p0033-image.jpg b/26473-page-images/p0033-image.jpg
new file mode 100644
index 0000000..6b3ed87
--- /dev/null
+++ b/26473-page-images/p0033-image.jpg
diff --git a/26473-page-images/q0001.png b/26473-page-images/q0001.png
new file mode 100644
index 0000000..c9b6639
--- /dev/null
+++ b/26473-page-images/q0001.png
diff --git a/26473.txt b/26473.txt
new file mode 100644
index 0000000..1e1b57c
--- /dev/null
+++ b/26473.txt
@@ -0,0 +1,1192 @@
+The Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Arts of Persia
+       & Other Countries of Islam
+
+Author: H. Kevorkian
+
+Release Date: August 28, 2008 [EBook #26473]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ARTS OF PERSIA ***
+
+
+
+
+Produced by Fritz Ohrenschall, Linda Cantoni, and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: The main text in this book is interspersed with
+numerous illustrations and accompanying text. In this e-book, the
+illustrations and accompanying text are set off from the main text by
+lines of asterisks. For the reader's convenience, where the original
+indicates that the main text is continued on another page (e.g.,
+[CONTINUED ON PAGE THREE]), the page on which it is continued is marked
+with a page number, e.g., [PAGE 3].]
+
+
+
+
+SPECIAL EXHIBITION
+
+
+THE ARTS OF PERSIA
+
+& OTHER COUNTRIES OF ISLAM
+
+
+H. KEVORKIAN COLLECTION
+
+[Illustration]
+
+FROM THURSDAY, APRIL TWENTY-SECOND
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE
+ON THE ENTIRE THIRD FLOOR
+
+
+THE ANDERSON GALLERIES
+489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK
+1926
+
+
+THE ENTIRE THIRD FLOOR GALLERIES
+FROM THURSDAY, APRIL TWENTY-SECOND
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE
+[OPEN WEEK-DAYS, 9-6; SUNDAYS, 2-5 P.M.]
+
+       *       *       *       *       *
+
+[Illustration: STUCCO BAS-RELIEF, PAINTED IN POLYCHROME. EXCAVATED AT
+RAY (RHAGES) ANTERIOR TO THE XIITH CENTURY]
+
+This exhibition has been arranged with a desire to meet the
+convenience of those who are interested in manifestations of the arts
+of different countries over which ISLAM held sway at one time or other
+in the past. An effort has been made to show under one roof
+representative examples of works produced at different epochs and
+stages of the civilizations referred to, so that they may be seen, and
+perhaps studied, with the minimum expenditure of time.
+
+Fine examples of many branches of the arts of these peoples are in
+permanent exhibitions at the Metropolitan Museum, New York, and the
+museums of great cities throughout the country. It is difficult to
+find adequate words to describe the enchanting atmosphere of the halls
+at the Metropolitan Museum where Near Eastern art is installed; and
+the same can truly be said of the Museum of Fine Arts, Boston, and the
+University of Pennsylvania Museum, Philadelphia. These exhibitions
+must inevitably contribute to the enjoyment and education of countless
+visitors to these institutions, and will continue to do so in
+increasing degree to the enjoyment of generations to come.
+
+The present exhibition does not comprise a vast number of objects. Its
+claim to attention lies in the fact that it includes an important
+series of really first class works which are also of great historical
+importance. There will be on view as well some comparatively new types
+of objects of aesthetic and archaeological interest, obtained as the
+result of recent excavations.
+
+The briefness of time available precluded the possibility of compiling
+a catalogue, as was at first intended. The present booklet is issued
+to explain the scope of the exhibition, and extend a cordial
+invitation to visit it.
+
+H.K.
+
+       *       *       *       *       *
+
+[Illustration: MUHAMMAD (THE PROPHET) WITNESSES ALI (HIS SON-IN-LAW
+AND SUCCESSOR) DEFEAT AMR BEN ABDWAD]
+
+One of the eight illustrations for a XIIIth Century Persian Manuscript
+entitled, "HISTORY OF TABARI", compiled A.H. 310 (A.D. 922). The
+present copy is a subsequent one of the Persian version, translated by
+AL B'ALA'MI, A.H. 352.
+
+It is interesting to note that TABARI records in the book here
+referred to, that three messages were sent by MUHAMMAD to KHUSRAW
+PARNIZ, imparting the divine warnings. One of the messages, as
+recorded in an old Manuscript entitled NIHAYAT UL-IRAB, reads:
+
+"In the name of God, the merciful, the compassionate. From MUHAMMAD
+the Apostle of God to KHUSRAW son of HURMAZD. But to proceed. Verily I
+extol unto thee God, beside whom there is no other God. He it is who
+guarded me when I was an orphan, and made me rich when I was
+destitute, and guided me when I was straying in error. Only he who is
+bereft of understanding, and over whom calamity triumphs, rejects the
+message which I am sent to announce. O KHUSRAW, submit and thou shalt
+be safe, or else prepare to wage with God and with his Apostle a war
+which shall not find them helpless. Farewell."
+
+       *       *       *       *       *
+
+[Illustration]
+
+The rise of ISLAM and its rapid advent to power, is perhaps the most
+surprising chapter of the history of mankind. The great empires,
+Persian and Byzantine, which were subjected to the urgent onslaught of
+this rising power may have been in an enfeebled condition as a result
+of excess of despotism and internal dissensions, as historians affirm;
+but that the element of the power must have been in the rationality of
+the principles contained in the teaching, there can be no doubt.
+
+"It was undoubtedly to ISLAM, that simple yet majestic creed of which
+no unprejudiced student can ignore the grandeur, that Arabs owed the
+splendid part which they were destined to play in the history of
+civilization. In judging of the Arabian Prophet, western critics are
+too often inclined to ignore the condition from which he raised his
+country, and to forget that many institutions which they condemn were
+not introduced but only tolerated by ISLAM. The early Muslims were
+very sensible of the immense amelioration in their life effected by
+MUHAMMAD'S teachings. What this same amelioration was is well shown in
+the following passage from the oldest extant biography of the
+Prophet," says Professor G. Browne in his memorable work on Persia,[1]
+and quotes IBN HISHAM (A.H. 213: A.D. 828) in support.
+
+[Footnote 1: "Literary History of Persia," by Edward G. Browne, M.A.,
+M.B., Vol. I, page 186.]
+
+"During the first half of the seventh century," says DOZY in
+
+[CONTINUED ON PAGE THREE]
+
+       *       *       *       *       *
+
+[Illustration: ACCESSION AT KUFA, A.D. 749, OF ABU'L-ABBAS ABDULLAH
+AS-SAFFAH FIRST CALIPH OF THE HOUSE OF ABBAS]
+
+One of eight illustrations for a XIIIth Century Manuscript entitled,
+"HISTORY OF TABARI", compiled A.H. 310 (A.D. 922). The present copy is
+a subsequent one of the Persian version, translated by AL B'ALA'MI,
+A.H. 352.
+
+"It was a dynasty abounding in good qualities, richly endowed with
+generous attributes, wherein the wares of science found a ready sale,
+the merchandise of culture was in great demand, the observances of
+religion were respected, charitable bequests flowed freely ... and the
+frontiers were bravely kept."--AL-FAKHRI (historian of fame of the
+XIIIth Century) on the ABBASID Dynasty.
+
+       *       *       *       *       *
+
+[PAGE 3]
+
+his excellent work on ISLAM,[2] "everything followed its accustomed
+course in the Byzantine as in the Persian Empire. These two states
+continued always to dispute the possession of western Asia; they were,
+to all outward appearance, flourishing; the taxes which poured into
+the treasuries of their Kings reached considerable sums, and the
+magnificence, as well as the luxury of their capitals had become
+proverbial. But all this was but in appearance, for secret disease
+consumed both empires; they were burdened by a crushing despotism; on
+either hand the history of the dynasties formed a concatenation of
+horrors, that of the state a series of persecutions born of
+dissensions in religious matters. At this juncture it was that, all of
+a sudden, there emerged from deserts hardly known and appeared on the
+scene of the world a new people, hitherto divided into innumerable
+nomad tribes, who, for the most part, had been at war with one
+another, now for the first time united. It was this people,
+passionately attached to liberty, simple in their food and dress,
+noble and hospitable, gay and witty, but at the same time proud,
+irascible, and, once their passions were aroused, vindictive,
+irreconcilable and cruel, who overthrew in an instant the venerable
+but rotten empire of the Persians, snatched from the successors of
+Constantine their fairest provinces, trampled under their feet a
+Germanic kingdom but lately founded, and menaced the rest of Europe,
+while at the same time, at the other end of the world, its victorious
+armies penetrated to the Himalayas. Yet it was not like so many other
+conquering peoples, for it preached at the same time a new religion.
+In opposition to the dualism of the Persians and a degenerate
+Christianity, it announced a pure monotheism which was accepted by
+millions of men, and which, even in our own time, constitutes the
+religion of a tenth part of the human race."
+
+[Footnote 2: Translated into French by Victor Chauvin under the title
+of "Essai sur l'Histoire de l'Islamisme" (Leyden and Paris, 1879).]
+
+The teachings of MUHAMMAD were not of a nature to arouse
+
+[CONTINUED ON PAGE FIVE]
+
+       *       *       *       *       *
+
+[Illustration: POLYCHROME ENAMELLED GLASS MOSQUE LAMP OF THE XIIITH
+CENTURY]
+
+Very few examples of this highly advanced art survive. They represent
+an extremely aristocratic manifestation of art and were executed by
+order of MAMELUKE CALIPHS of Egypt, and dedicated by them to their
+great Mosques, individually inscribed in magnificent calligraphy.
+
+       *       *       *       *       *
+
+[PAGE 5]
+
+intolerance.[3] History does not record the practice of compulsory
+conversion in the scheme of conquest of early converts. "It is often
+supposed," says Professor BROWNE, "that the choice offered by the
+warriors of ISLAM was between the QUR'AN and the SWORD; this, however,
+is not the fact." There are innumerable evidences to the contrary
+which history records.[4] It appears that the exemplary behavior of
+the Arabs, under their newly acquired faith, was the main factor not
+only in the success of their scheme of conquest, but also in the
+impression which it made on the defeated in determining them to adopt
+the faith which produced such upright warriors.
+
+[Footnote 3: "Righteousness is not that ye turn your faces to the East
+and to the West, but righteousness is this: Whosoever believeth in
+God, and the last day, and the angels, and the book, and the prophets;
+and whoso, for the love of God, giveth of his wealth unto his kindred,
+and unto orphans, and the poor, and the traveller, and to those who
+crave alms, and for the release of the captives; and whoso observeth
+prayer and giveth in charity; and those who, when they have
+covenanted, fulfil their covenant; and who are patient in adversity
+and hardship, and in times of violence: these are the righteous and
+they that fear the Lord."--QUR'AN, SURA II.]
+
+[Footnote 4: The treaty concluded by HABIB B. MASLAMA with the people
+of DABIL in Armenia ran as follows: "In the name of God the merciful,
+the clement. This is a letter from HABIB B. MASLAMA to the people of
+DABIL, Christians, Magians, and Jews, such of them as are present and
+such of them as are absent. Verily I guarantee the safety of your
+lives, properties, churches, temples and city walls; ye are secure,
+and it is incumbent upon us faithfully to observe this treaty so long
+as you observe it and pay the poll-tax and the land-tax. God is
+witness, and he sufficeth as a witness."--QUR'AN, V. 104. Concerning
+the acceptance of the Poll-Tax from ZOROASTRIANS, as well as from Jews
+and Christians. A. VON KREMER'S "Kulturgeschichte d. Orients," Vol. I,
+page 59.]
+
+The tremendous political upheaval that the evolution of ISLAM brought
+in its train to the affairs of the world does not fall within the
+scope of this paper. A highly important fact, however, must not be
+lost sight of, that by consolidating and unifying the tottering states
+a new civilization was founded which knew how to turn to account the
+culture of the ancient states conquered. In this overwhelming
+transformation Persia came in, from the outset, to play the most
+conspicuous and important part. The
+
+[CONTINUED ON PAGE NINE]
+
+       *       *       *       *       *
+
+[Illustration: ROYAL IVORY BOX, WITH METAL MOUNTING. HISPANO-ARABIAN
+ART, XIITH-XIIITH CENTURY DECORATED IN ENAMEL AND GOLD, DEPICTING
+INSIGNIA OF SUCCESSORS OF UMAYYAD CALIPHS OF SPAIN, AND QUR'ANIC
+ROSETTES AND KUFIC CALLIGRAPHY OF THE HIGHEST DISTINCTION]
+
+[Illustration: FAIENCE CYLINDRICAL VASE, WITH RELIEF AND LUSTRE
+DECORATION. FROM FOSTAT (ANCIENT CAIRO), DYNASTY OF FATIMID
+ANTI-CALIPHS (A.D. 974-1171)]
+
+[Illustration: AN EARLY SAFAWID PAINTING (CIRCA A.D. 1525) OF
+EXQUISITE RHYTHM, DEPTH AND DIGNITY]
+
+       *       *       *       *       *
+
+[PAGE 9]
+
+artistic productions of the MUHAMMADAN world that have come down to us
+as living monuments, substantiate this statement without a shadow of
+doubt, which makes it unnecessary to resort to recorded history,
+although its pages abound with incontestable evidences.[5]
+
+[Footnote 5: "Thus it is by no means correct to imply that the two or
+three centuries immediately following the MUHAMMADAN conquest of
+Persia were a blank page in the intellectual life of its people. It
+is, on the contrary, a period of immense and unique interest, of
+fusion between the old and the new, of transformation of forms and
+transmigration of ideas, but in no wise of stagnation or death.
+Politically, it is true, Persia ceased for a while to enjoy a separate
+national existence, being merged in that great MUHAMMADAN EMPIRE which
+stretched from GIBRALTAR to the JAXARTES; but in the intellectual
+domain she soon began to assert the supremacy to which the ability and
+subtlety of her people entitled her. Even the forms of State
+organization were largely adapted from Persian models."--AL-FAKHRI
+(ed. AHLWARDT, page 101), on the organization of the DIWANS or
+Government offices.
+
+"In the finance department not only was the Persian system adopted, but
+the Persian language and notation continued to be used till the time
+of AL-HAJJAJ B. YUSUF (about A.D. 700)."--EDWARD G. BROWNE, "Literary
+History of Persia", Vol. I, page 204.]
+
+It would be difficult to offer an explanation for the underlying unity
+and integrity of character manifest in the artistic expression of the
+MUHAMMADAN countries, of vast geographical range, without a clear
+understanding of the vital force contained in the teachings of the
+Arabian Apostle, and the characteristics of his people, destined to
+carry those teachings from one end of the earth to the other. For this
+reason the foregoing brief survey has been ventured.
+
+There can be no doubt that the pivot around which the artistic
+activities of MUHAMMADAN countries revolved, was Persia.[6] She was to
+attain the function of the SUN, element of
+
+[CONTINUED ON PAGE SEVENTEEN]
+
+       *       *       *       *       *
+
+ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA (EPIC OF KINGS) of the
+XVth Century.
+
+Representing TIMUR-I-LANG (A.H. 736-807) attending a festival. The
+name and the full titles of TIMUR appear in excellent Thuluth
+lettering round the border of the rug upon which the monarch sits.
+
+This important Manuscript was presented by the Emperor of Russia to
+the Ambassador of Persia at St. Petersburg, A.D. 1829. The
+Ambassador's autograph inscription reads:
+
+"The SHAHNAMA graciously presented by H.M. the Emperor at my third
+visit--may it be omen of good fortune. MUHAMMAD ALI IBNI GHAFOURI
+Ambassador, 22nd of RAJAB, A.H. 1245."
+
+"TIMUR BEG was seated in a portal, in front of the entrance of a
+beautiful Palace; and he was sitting on the ground.... The lord was
+seated cross-legged, on silken embroidered carpets, amongst round
+pillows. He was dressed in a robe of silk, with white headdress on his
+head, on the top of which there was a spinel ruby, with pearls and
+precious stones round it. As soon as the ambassadors saw the lord,
+they made a reverential bow, placing the knee on the ground, and
+crossing the arms on the breast; then they went forward and made
+another and then a third, remaining with their knees on the ground.
+The lord ordered them to rise and come forward.... Three MIRZAS, or
+secretaries, ... came and took the ambassadors by the arms, and led
+them forward until they stood before the lord.... He asked after the
+King, saying, 'How is my son the King? is he in good health?' When the
+ambassadors had answered, TIMUR BEG turned to the knights who were
+seated around him, amongst whom were one of the sons of TOKTAMISH, the
+former Emperor of TARTARY, several chiefs of the blood of the late
+Emperor of SAMARQUAND, and others of the family of the lord himself,
+and said, 'Behold, here are the ambassadors sent by my son, the King
+of Spain, who is the greatest King of Franks, and lives at the end of
+the world. These Franks are truly great people, and I will give my
+benediction to the King of Spain, my son."--From the Diary of RUY
+GONZALEZ DI CLAVIJO, principal of the embassy despatched A.D. 1404 to
+the Court of SAMARQUAND by Henry III of Castile, Spain.
+
+CLAVIJO describes the beautiful gardens with their tiled palaces where
+banquets were given. The ambassador, who was invited, marvelled at the
+gorgeous tents, one of which "was so large and high that from a
+distance it looked like a castle, and it was a very wonderful thing to
+see, and possessed more beauty than it is possible to describe". It is
+interesting to notice that SHARAF-U-DIN mentions the presence of the
+Ambassadors, "for," he writes, "even the smallest of fish have their
+place in the sea". Truly a delightful touch!--History of Persia, by
+SIR PERCY SYKES, Vol. II, page 133.
+
+[Illustration: ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA (EPIC OF
+KINGS) OF THE XVTH CENTURY]
+
+"On the extreme of the western side of the royal precincts opening on
+to the CHAHAR BAGH are a garden and building. The Garden was
+previously called "BAGH I BULBUL" (Garden of Nightingales).--LORD
+CURZON, History of Persia.
+
+"Night drawing on, all the pride of SPAHAUN was met in the CHAUR BAUG
+and grandees were airing themselves, prancing about with their
+numerous trains, striving to outdo each other in pomp and
+generosity."--DR. FRYER, recorded A.D. 1677.
+
+CHARDIN, who was at Ispahan at the time of SHAH SULEIMAN'S reign
+(1667-1694), records in his "VOYAGES", Vol. VIII, page 43:
+
+"When one walks in these places expressly made for the delights of
+love and when one passes through all these cabinets and niches, one's
+heart is melted to such an extent that to speak candidly, one always
+leaves with a very ill grace. The climate without doubt contributes
+much towards exciting this amorous disposition, but assuredly these
+places, although in some respects little more than cardboard castles,
+are nevertheless more smiling and agreeable than our most sumptuous
+palaces."
+
+LORD CURZON says (History of Persia, Vol. II, page 37) that "Even
+CHARDIN, enthusiastic but seldom sentimental, was inspired to an
+unwonted outburst by the charms of HASHT BAHISHT".
+
+[Illustration: VIEW OF CHAHAR BAGH (FOUR GARDENS) AND HASHT BAHISHT
+(PAVILION OF EIGHT PARADISES) AT ISPAHAN. CONSTRUCTED BY SHAH SULEIMAN
+SAFAWI ABOUT A.D. 1670. REPRODUCTION FROM "LA PERSE, LA CHALDEE ET LA
+SUSIANE" (1887) BY DIEULAFOY]
+
+PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN (Hall of Forty
+Pillars) built by SHAH ABBAS the Great (A.D. 1588-1629).
+
+These are decorated with representations of scenes from the Royal
+Court of the great Shah, painted minutely by Court artists.
+
+"They transport us straight to the Court of the lordly ABBAS and his
+predecessors or successors on the throne.... We see the King engaged
+at some royal festivity enjoying the pleasure of the Bowl."--LORD
+CURZON, History of Persia, Vol. II, page 34.
+
+KER PORTER, who saw the Palace of Chahal Situn in its perfect
+condition, records: "The exhaustless profusion of its splendid
+materials reflected not merely their own golden lights on each other,
+but all the variegated colours of the Garden, so that the whole
+surface seemed formed of polished silver and mother of pearl set with
+precious stones."
+
+LORD CURZON, who visited it soon after its last repair in 1891, quotes
+KER PORTER and by way of contrast says: "The bulk of this superb
+decoration which still remains in the THRONE ROOM behind, to point
+bitter contrast, had on the walls of the LOGGIA been ruthlessly
+obliterated by the brush of the painter, who had left in its place
+pink wash; had I caught the Pagan, I would gladly have suffocated him
+in a barrel of his own paint."--History of Persia, Vol. II, page 33.
+
+[Illustration: PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN (HALL
+OF FORTY PILLARS) BUILT BY SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+[Illustration: RIZA ABBASI, FAVORED COURT ARTIST, PORTRAYS EUROPEANS
+AT THE COURT OF SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+Detail of exquisitely painted woodwork from the Pavilion of CHAHAL
+SITUN (Hall of Forty Pillars), the Palace at Ispahan built by SHAH
+ABBAS.
+
+The young Shah, who was pleased with the leader of the party
+(Europeans), gave him royal gifts, Sir Anthony Sherley records (1598),
+including "forty horses all furnished, two with exceeding rich
+saddles, plated with gold, and set with rubies and turquoises." To
+these he added camels, tents, and a sum of money.
+
+       *       *       *       *       *
+
+[PAGE 17]
+
+her old faith, source of sustaining energy; and continued to radiate
+into these planets of countries and races of the System, her
+all-stimulating cultural beams, the reflection of which is discernible
+in all artistic manifestations of those countries. In the field of
+literature, which is so little known in the western world, the
+influence is even greater than in the visual art with which we are
+concerned. MUHAMMADAN literature, be it Arabic, Turkish, or Persian,
+is PERSIAN in spirit and feeling.[7]
+
+[Footnote 6: "The ascendancy of the Persians over the Arabs, that is
+to say of the conquered over the victors, had already for a long while
+been in course of preparation; it became complete when the ABBASIDS,
+who owed their elevation to the Persians, ascended the throne (A.D.
+749). The most distinguished personages at court were consequently
+Persians. The famous BARMECIDES were descended from a Persian noble
+who had been superintendent of the Fire Temple at BALKH. AFSHIN, the
+all-powerful favorite of the Caliph AL-MUTASIM, was a scion of the
+Princes of USRUSHNA in Transoxiana."--DOZY, "Histoire de
+l'Islamisme".]
+
+[Footnote 7: "With the rise of PERSIAN influence, there opened an era
+of culture, toleration, and scientific research. The practice of oral
+tradition was also giving place to recorded statement and historical
+narrative,--a change hastened by the scholarly tendencies introduced
+from the East."--SIR WILLIAM MUIR, on the rise of the Abbasid
+Dynasty.]
+
+The fusion of MUHAMMADAN doctrine with this Aryan (Persian) culture of
+old,[8] is an important event in the history of Art. For out of this
+fusion came forth into being a new phase of artistic expression
+completely different, in form and spirit, from its predecessors.
+Probably of equal importance is the fact that, although practised by
+divers races and subjected to many developments, fluctuations and
+variations, it has retained throughout the centuries its identical
+characteristics. What was the vital force that brought about this
+cultural evolution and unification? The answer appears to be RELIGION,
+as we shall see.
+
+[Footnote 8: "PERSIAN influence increased at the court of the CALIPHS,
+and reached its zenith under AL-HADI, HARUNU'R-RASHID, and AL-MAMUN.
+Most of the ministers of the last were PERSIANS or of PERSIAN
+extraction. In BAGHDAD, PERSIAN fashions continued to enjoy an
+increasing ascendancy. The old PERSIAN festivals of the NAWRUZ,
+MIHRGAN, and RAM were celebrated. PERSIAN raiment was the official
+court dress, and the tall, black, conical PERSIAN hats were already
+prescribed as official by the second ABBASID Caliph (in A.H. 153: A.D.
+770). At the court the customs of the SASSANIAN Kings were imitated,
+and garments decorated with golden inscriptions were introduced, which
+it was the exclusive privilege of the ruler to bestow. A coin of the
+Caliph AL-MUTAWAKKIL shows us this Prince actually clothed in true
+PERSIAN fashions".--VON KREMER, Streitzuge, page 32.]
+
+The foundation of the MUHAMMADAN EMPIRE was RELIGION. It was to the
+Holy Standard that the nations bent
+
+[CONTINUED ON PAGE TWENTY-THREE]
+
+       *       *       *       *       *
+
+     _"Lips sweet as sugar on my pen bestow,
+     And from my book let streams of odour flow."_
+
+     --J'AMI.
+
+ILLUSTRATED AND ILLUMINATED MANUSCRIPT
+
+The complete volume of "YUSUF-OU-ZALIKHA", the popular poem by the
+famous mystic poet J'AMI, based on the Biblical story of JOSEPH and
+POTIPHAR'S WIFE. The scribe, MIR ALI SULTANI.
+
+The colophon reads:
+
+"Terminated by the sinner, humble MIR ALI SULTANI the penman, may God
+forgive his sins and shelter his faults. Terminated in the month of
+MOHARRAM AL HARAM in the year A.H. 944 (in letters) (A.D. 1537) in the
+glorious city of BUKHARA."
+
+The Dedication in the handwriting of the scribe, in ornate gold
+lettering, reads:
+
+"For his majesty, the AUGUST, the just, the possessor of virtues, the
+great KHAGAN GHAZI ABD-UL-AZIZ BAHADUR KHAN, may his domain last
+forever."
+
+The autograph of the Emperor SHAH JAHAN, the "GREAT MOGUL", on the
+magnificently decorated mount reads:
+
+"In the name of God compassionate and merciful this YUSUF-OU-ZALIKHA
+treasured on the occasion of BLESSED ACCESSION." (A.D. 1627)
+
+In confirmation of the foregoing, it is of great interest that
+JAHANGIR makes special reference in his memoirs (Tuzuk-i-Jahangiri) to
+an incident, as of highest importance, that he was presented by
+ABD-AL-RAHIM KHAN, KHAN-I-KHANAN, with a superb copy of J'AMI'S poem
+YUSUF-OU-ZALIKHA, transcribed by MIR ALI SULTANI, "Prince of Penmen",
+and that the gift was appraised at "a thousand Muhr".
+
+[Illustration: COMPLETE ILLUSTRATED AND ILLUMINATED MANUSCRIPT OF
+"YUSUF-OU-ZALIKHA", BY THE FAMOUS MYSTIC POET J'AMI]
+
+ONE OF THE ILLUSTRATIONS TO THE MANUSCRIPT YUSUF-OU-ZALIKHA
+
+ZALIKHA in old age, broken and in poverty, meets YUSUF in the market
+place in Egypt.
+
+     _"Where is thy youth, and thy beauty, and pride?"
+     "Gone, since I parted from thee," she replied.
+     "Where is the light of thine eye?" said he.
+     "Drowned in blood-tears for the loss of thee."
+     "Why is that cypress tree bowed and bent?"
+     "By absence from thee and my long lament."
+     "Where is thy pearl, and thy silver and gold,
+     And the diadem bright on thy head of old?"..._
+
+     --Quotation from YUSUF-OU-ZALIKHA (J'AMI).
+     Translation of R.T. GRIFFITH.
+
+[Illustration]
+
+[Illustration: CHISELLED SILVER BOWL, DECORATED IN FILIGREE AND
+POLYCHROME ENAMEL. PERSIAN WORK OF THE XVITH CENTURY, PROBABLY
+EXECUTED IN ASIA MINOR FOR A PRINCELY OTTOMAN PATRON]
+
+       *       *       *       *       *
+
+[PAGE 23]
+
+and professed unqualified allegiance. A powerful political unity came
+into existence and continued for a period of SIX centuries
+uninterrupted. The nations of this united kingdom of ISLAM were thus
+merged into one unit, under the stimulus of one formal religion,
+freely transmigrating local ideas. Arts and culture were transformed,
+but the evolution thus caused by the Religion was essentially
+political in nature.
+
+"There is no God but GOD," said the APOSTLE OF ARABIA, but the poet
+reflected awhile, and his rejoinder was: "The Ways of God are as the
+number of SOULS OF MEN."
+
+The Prophet's religion was rational, its principles attainable; it
+secured for the poet social amelioration and physical comfort, but
+there was a voice from the depth of his soul that he could not
+silence. It was the voice of mystery; he was concerned with the
+problems of the "Wherefore, the Whence, and the Whither".... Was he
+not a Son of the land which PLOTINUS visited to learn mystery of the
+Orient of Old?[9]
+
+[Footnote 9: "Il prit un si grand gout pour la philosophie qu'il se
+proposa d'etudier celle qui etait enseignee chez les Perses et celle
+qui prevalait chez les Indiens. Lorsque l'empereur Gordien se prepara
+a faire son expedition contre les Perses, Plotin, alors age de
+trente-neuf ans, se mit a la suite de l'armee. Il avait passe dix
+annees entieres pres d'Ammonius. Gordien ayant ete tue en Mesopotamie,
+Plotin eut assez de peine a se sauver a Antioche."--PORPHYRY ON
+PLOTINUS: Translation of the Enneads of Plotinus (Bouillet; Paris,
+1857).]
+
+We have to look therefore to the RELIGION, "The Ways" of whose God
+"are as the number of Souls of Men", to perceive the true nature of
+the evolution of the artistic expression of these people.
+
+Souls with irresistible cravings for Mysticism, poets, artists,
+philosophers and the like, discovered for the first time from
+MUHAMMAD'S formal teachings, which contained certain esoteric
+elements, that the senses, unreal and phenomenal, have yet an
+important mission to fulfill in the task which aims to escape from
+SELF (which is an illusion and the root of SIN, PAIN, and SORROW) and
+to attain the height where the eternal beauty,
+
+[CONTINUED ON PAGE TWENTY-SEVEN]
+
+       *       *       *       *       *
+
+"PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF FORTRESS, BY
+RAMDAS"--A.D. 1630.
+
+A leaf from the National Portrait Album conceived by the Emperor
+AKBAR, and amplified and executed by JAHANGIR and SHAH JAHAN. The
+volume consists of portraits of the Royal Family of the GREAT MOGULS
+and their principal supporters. These historic personages are
+represented in the centre as single individuals, with their chief
+officials and retainers in the border around them.
+
+RAMDAS, a Hindu artist, was one of AKBAR'S artists who worked under
+JAHANGIR and SHAH JAHAN. His signed works include the following:
+
+BABURNAMA in the British Museum and South Kensington Museum.
+AKBARNAMA in South Kensington Museum.
+RAZMNAMA in the State Library, Jaipur, India.
+TIMURNAMA in the Oriental Public Library, Bankipur, India.
+
+[Illustration: "PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF
+FORTRESS, BY RAMDAS"--A.D. 1630]
+
+[Illustration: SILK FABRIC--A RARE EXAMPLE OF THE KIND PRODUCED BY THE
+ROYAL LOOMS AT ISPAHAN, WHICH FLOURISHED UNDER THE DIRECT PATRONAGE OF
+SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+"Oct. 18th, 1666.--To Court. It being ye first time his Ma'ty
+(CHARLES II of England) put himself solemnly into Eastern fashion of
+vest, changeing doublet, stiff collar, bands and cloake, into a comley
+dress, after ye Persian mode. I had sometime before presented an
+invective against our so much affecting the French fashion, to his
+Majesty, in which I took occasion to describe the comelinesse and
+usefulness of the Persian clothing, in ye very same manner his
+Ma'ty now clad himself."--JOHN EVELYN (A.D. 1666), celebrated
+historian and diarist.
+
+       *       *       *       *       *
+
+[PAGE 27]
+
+which is but ONE, reveals itself through countless phenomena which are
+but reflections of ONE. "The PHANTASMAL is the BRIDGE to the REAL,"
+says the mystic, and the immortal lines of J'AMI read:
+
+     _"Though in this world a hundred tasks thou tryest,
+     'Tis Love alone which from thyself will save thee.
+     Even from earthly love thy face avert not,
+     Since to the real it may serve to raise thee.
+     Ere A, B, C, are rightly apprehended,
+     How canst thou con the pages of the_ QUR'AN?
+     _A sage (so heard I) unto whom a scholar
+     Came craving counsel on the course before him,
+     Said, 'If thy steps be strangers to love's pathways,
+     Depart, learn Love, and then return before me,
+     For, shouldst thou fear to drink wine from form's Flagon,
+     Thou canst not drain the draughts of the Ideal.
+     But yet beware, Be not by form belated,
+     Strive rather with all speed the bridge to traverse.
+     If to the bourn thou fain wouldst bear thy baggage,
+     Upon the bridge let not thy footsteps linger."_[10]
+
+[Footnote 10: "Religious Systems of the World" (Swan Sonnenschein,
+1892).]
+
+The unreality of things material, the illusion of Self and desires,
+the perception that all living things and apparent phenomena reflected
+but one all-embracing GOOD and BEAUTY, was the philosophy of Hindu and
+all Oriental mystics of old; but they attempted to destroy the self
+and desires (Source of Sin) uncompromisingly and unreasonably. It was
+a philosophy "cold" and "bloodless", as Professor BROWNE points out,
+in trenchant terms. The MUHAMMADAN mystic became conscious that the
+stream cannot be crossed without the aid of the BRIDGE constructed for
+this purpose.
+
+Here (as it seems to us) lies the KEYNOTE, the mainspring of
+inspiration of artistic expression, which (for the lack of better
+designation) might be termed MUHAMMADAN ART: A merging of physical and
+spiritual, of worldly magnificence and eternal bliss.
+
+[CONTINUED ON PAGE THIRTY-ONE]
+
+       *       *       *       *       *
+
+THE PRINCES OF THE HOUSE OF TIMUR
+
+EMIR TIMUR (TIMUR-I-LANG) on the throne (A.D. 1335-1405)
+
+On the right of the throne:
+
+BABUR A.D. 1526-1530
+HUMAYUN A.D. 1530-1556
+AKBAR A.D. 1556-1605
+JAHANGIR A.D. 1605-1627
+SHAH JAHAN A.D. 1627-1658
+
+On the left are three sons of SHAH JAHAN:
+
+DARA SHIKOH
+SHAH SHUJA
+AURENGZIB
+(who succeeded Shah Jahan)
+
+MUGHAL Painting from the Imperial Library of DELHI, A.D. 1640
+
+[Illustration: THE PRINCES OF THE HOUSE OF TIMUR
+
+MUGHAL PAINTING FROM THE IMPERIAL LIBRARY OF DELHI, A.D. 1640]
+
+TALAR (HALL OF AUDIENCE) RUG
+
+From the looms of ISPAHAN or the adjoining city of JOSHAGAN. Made
+during the reign of SHAH SULEIMAN (A.D. 1667-1694), upon the model of
+CHAHAR BAGH Royal Garden at ISPAHAN, on the grounds of which the Royal
+Pavilion of HASHT BAHISHT (Eight Paradises) stands. The Rug measures
+29 feet by 9 feet 5 inches.
+
+LORD CURZON in his History of Persia, Vol. II, page 38, gives the
+following description of the Garden of CHAHAR BAGH:
+
+"At the upper extremity a two storeyed PAVILION connected by a
+corridor with the SERAGLIO of the palace, so as to enable the ladies
+of the harem to gaze unobserved upon the merry scene below, looked out
+upon the centre of the avenue. Water conducted in stone channels ran
+down the centre, falling in cascades from terrace to terrace, and was
+occasionally collected in great square or octagonal basins where cross
+roads cut the avenues. On either side of the central channel was a row
+of chenars and a paved pathway for pedestrians, then occurred a
+succession of open parterres, usually planted or sown. Next on either
+side was a second row of chenars, between which and flanking walls was
+a raised causeway for horsemen. At intervals corresponding with the
+successive terraces and basins, arched doorways with recessed open
+chambers overhead conducted through these walls into the various royal
+or noble gardens that stretched on either side and were known as the
+gardens of the throne; nightingale, vines, mulberries, Dervishes, etc.
+Some of these pavilions were places of public resort and were used as
+coffee houses, where when the business of the day was over the good
+burghers of Ispahan assembled to sip that beverage and inhale their
+Kalians the while. At the bottom quays lined the banks of the river
+and were bordered with the mansions of the nobility."
+
+[Illustration]
+
+       *       *       *       *       *
+
+[PAGE 31]
+
+A desire to reach to our higher instincts through the vehicle of our
+senses is apparent in all forms in which these masters sought to
+express themselves; we feel that, in their entrancing rhythmical
+compositions, in their incomparable poetry of flowing melodious words,
+in all their literature, in the inimitable colors and lyrical lines of
+all branches of representation of visual art. We feel the presence of
+an element prevailing throughout, and underlying every form of
+expression, an element which may be described in a word, "HUMAN".
+
+It is stated that the PERSIAN spirit and feeling were reflected in all
+forms of artistic expression of the MUHAMMADAN world. It is not,
+however, intended that other nations and countries over which ISLAM
+held sway, contributed nothing in the building of the influences of
+each were felt in varying degrees in the transmigration of ideas
+continued to take place between the nations, and the influences of
+each were felt in varying degrees in the transformation that resulted.
+In the fusion referred to, the influence of the PERSIAN culture was
+predominant, a fact so transparent, as to require (we may assume) no
+emphasis.
+
+It is not intended to deal here with particular aspects or divers
+branches of arts in which the genius of these artists found
+expression. In offering briefly these lines as to the general aspect
+of the Art of the MUHAMMADAN world, the intention is to offer an
+explanation to those who may not be familiar with its history.
+
+H. KEVORKIAN
+
+[Illustration]
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ARTS OF PERSIA ***
+
+***** This file should be named 26473.txt or 26473.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/6/4/7/26473/
+
+Produced by Fritz Ohrenschall, Linda Cantoni, and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/26473.zip b/26473.zip
new file mode 100644
index 0000000..10e2828
--- /dev/null
+++ b/26473.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..dc6b377
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #26473 (https://www.gutenberg.org/ebooks/26473)