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+
+<body>
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78943 ***</div>
+
+<div class="margins">
+<div class="transnote x-ebookmaker-drop">
+<p class="center">Large-size versions of illustrations are
+available by clicking on them.</p>
+</div>
+
+<p class="x-ebookmaker-drop space-above2">
+</p>
+
+<div class="figcenter iw5b x-ebookmaker-drop">
+<figure id="cover"><a href="images/cover.jpg"><img alt="[Cover]"
+src="images/cover_thumb.jpg"></a>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i001" class="iw6"><a href=
+"images/fig001_large.jpg"><img src='images/fig001.jpg' alt=''></a>
+<p class="cp1">MOSQUE OF KAIT BEY.</p>
+
+<p class="cpleft"><em>Frontispiece.</em>
+</p>
+</figure>
+</div>
+
+<div class="titlepage">
+<h1><span class="less">THE</span><br>
+<span class="xxlarge">ART OF THE SARACENS<br>
+IN EGYPT</span>
+</h1>
+
+<p class="center spaced15 space-above1"><span class=
+"small">BY</span><br>
+STANLEY LANE-POOLE, B.A., M.R.A.S.</p>
+
+<p class="center med"><em>Hon. Member of the Egyptian Commission
+for the Preservation of the<br>
+Monuments of Arab Art</em>
+</p>
+
+<p class="center less gothic space-above15 space-below15">With 108
+Woodcuts</p>
+
+<div class="figdecor iwdecor1">
+<figure><img alt="[Decoration]" src="images/logo.jpg">
+</figure>
+</div>
+
+<p class="publisher"><span class="less"><em>Published for the
+Committee of Council on Education</em></span><br>
+<span class="small">BY</span><br>
+<span class="letter-spaced02 word-spaced03">CHAPMAN AND HALL,
+<span class="sc">Limited</span></span><br>
+<span class="med">11, HENRIETTA STREET, COVENT GARDEN<br>
+1888</span>
+</p>
+</div>
+
+<hr class="chap">
+
+<h2 class="large letter-spaced"><span class="pagenum" id=
+"Page_v">[v]</span><a id="pref"></a>PREFACE.</h2>
+
+<hr class="decor width4">
+
+<p class="nind space-above15"><span class="sc">The</span> subject
+of the following chapters is what has been commonly known as ‘Arab’
+or ‘Mohammadan’ Art. Both these terms are misleading—for the
+artists in this style were seldom Arabs, and many of them were
+Christians—and the general term ‘Saracenic’ has therefore been
+substituted. ‘Saracen,’ which means simply Eastern, was the
+universal designation of Muslims in the Middle Ages, whether the
+paynims referred to were Syrian or Egyptian princes, like Saladin,
+or Barbary chiefs, or Moorish Alcaydes in Spain; and the mediaeval
+ring of the term Saracenic—which recalls the “proud Sarrasin” of
+the ballads, the <em>Sarrasina</em> artist of Italy, the Bysant
+<em>Saracenatus</em> of the Crusaders, and the stuff
+<em>Saracenatum</em>, or, as we spell it, “sarcenet”—is specially
+appropriate to the art about to be described. Saracenic art
+possesses an unmistakable style, which is instantly recognised
+wherever it occurs, from the pillars of Hercules and the Alcazar of
+Seville to the mosques of Samarkand and the ruins of Gaur in
+Bengal; and this style was developed and brought to perfection in
+the Middle Ages. The word Saracenic, implying the two ideas of
+Oriental and mediaeval, exactly fulfils the conditions of a general
+term for the art with which we are concerned.</p>
+
+<p><span class="pagenum" id="Page_vi">[vi]</span>There is a
+Saracenic art of Syria, with Damascus for its centre; there is a
+Saracenic art of Egypt; another variety is seen in the buildings of
+the Barbary States and Morocco; Andalusia, in the extreme west of
+the Mohammadan dominions; Persia, India, and Central Asia in the
+east; and Anatolia, Armenia, and even Turkey in Europe, between,
+have each their special development of the Saracenic style. Some of
+these varieties are perhaps better designated by their geographical
+positions; we speak of Persian art, Indian art; or again, the
+Moresque decoration, and so forth; but we must not forget that all
+these are but modifications of the Saracenic style, produced by the
+differentiating elements which were found in each country conquered
+by the Arabs, or introduced by the genius of some special school of
+artists. The mere classification of the various branches of
+Saracenic art, with a list of the monuments and objects
+illustrating each branch, would occupy a volume: so large a subject
+requires subdivision, and the present work therefore treats of the
+Egyptian branch alone, with but occasional passing glances at
+contemporary or derived developments. In some respects the Egyptian
+is the most important example of the style; for the mosques of
+Cairo furnish a fuller, longer, and more continuous record of the
+arts employed in their construction and decoration than any other
+series of monuments in a single Mohammadan city, and the simple
+lines and restrained decoration of the Egyptian artists exhibit to
+perfection the essential character of the Saracenic style. The
+mosques of Cairo give us the normal character of the art; we may go
+eastwards to Delhi, or west to the Alhambra, to see what a fanciful
+taste could add to the<span class="pagenum" id=
+"Page_vii">[vii]</span> normal elements; but we shall come back
+with the conviction that the purest form of Saracenic art, and that
+which most rests and satisfies the eye, is to be seen in Egypt.</p>
+
+<p>In this account of the Egyptian development of Saracenic art, I
+have worked an almost unexplored vein. The only previous attempt to
+describe the art of Cairo, as a whole, is M. Prisse d’Avennes’
+<em>L’Art Arabe</em>, a magnificent work, unapproached in its
+coloured illustrations; but its volume of text is of slight value.
+M. Prisse, who was not in a position to consult the Arabic
+historians, or to decipher the inscriptions which so often
+determine the date of an object of Saracenic art, is naturally an
+uncertain guide when it is a question of anything beyond
+draughtsmanship. We must not trust his facts; but for his plates we
+cannot be too grateful. Coste’s work, the <em>Monuments du
+Caire</em>, deserves all credit as the first of its kind, but here
+again the letterpress is of no scientific value, and even the
+drawings exhibit an imaginative power, which, however admirable it
+may be in the creation of works of art, is not desirable in their
+reproduction. M. Bourgoin’s <em>Les Arts Arabes</em>, and the
+smaller <em>Éléments</em>, are finely illustrated, but their text
+is occupied almost entirely with a minute examination of the
+principle of geometrical ornament in Saracenic decoration, for
+which there is no better authority.</p>
+
+<p>The first attempt at a scientific examination of the origin and
+development of Saracenic art was made by my father, the late Edward
+Stanley Poole, of the Science and Art Department, in an Appendix to
+the fifth edition of Lane’s <em>Modern Egyptians</em>, 1860, and
+very little of importance has been added to the results set forth
+in that essay<span class="pagenum" id="Page_viii">[viii]</span>
+twenty-six years ago. It is still the best authority on the subject
+of the sources of Arabian architecture, and the relation of the
+earliest buildings of the Arabs to Byzantine and Sassanian models;
+but of other arts, besides architecture, this essay does not treat.
+My own work, while it necessarily includes an outline of the
+principal forms and characteristics of Cairo buildings, does not
+presume to offer a history of Cairene architecture, for which both
+space and materials are at present wanting. The decorative arts,
+which were employed to embellish the mosques and palaces of
+mediaeval Egypt, form the subject of the following chapters; the
+history of mural sculpture, of mosaic work, wood and ivory carving,
+glass, pottery, and the like, is traced by means of dated examples
+down to the decadence which followed the Turkish conquest of Egypt;
+and the general characteristics of each period having thus been
+established at fixed points by dated specimens, the classification
+of undated examples becomes comparatively easy. I may perhaps be
+thought to have wasted time over the exact determination of the
+chronological sequence in each separate art, but there is so much
+vague generalisation abroad, and such extremely hazardous opinions
+are constantly ventilated, on the subject of Oriental art, that I
+have considered it a matter of the first consequence to cast aside
+all merely aesthetic canons and prejudices, and base the history of
+the arts I describe strictly upon sound historical evidence. An art
+critic is none the worse off when the date of an object is fixed by
+historical proofs; and those who are not versed in the principles
+of art criticism will be glad to have definite facts to go
+upon.</p>
+
+<p><span class="pagenum" id="Page_ix">[ix]</span>The authorities of
+which I have made use will be found referred to in the footnotes.
+Beyond the materials supplied by accurate drawings, like those of
+Prisse and Girault de Prangey, European books on this subject are
+few, and consist chiefly in short papers in periodical
+publications, such as M. Adrien de Longpérier’s in the <em>Revue
+Archéologique</em>, or M. Lavoix’ in the <em>Gazette des
+Beaux-Arts</em>; or else notes, scattered through the pages of
+books like Colonel Yule’s invaluable <em>Marco Polo</em>, or M.
+Schefer’s <em>Nāsir-i-Khusrau</em>. Reinaud’s description of the
+Duke de Blacas’ collection (<em>Monuments Musulmans</em>) deserves
+special notice, as the first scientific account of any large series
+of Saracenic works of art, and also because it abounds in valuable
+information, especially in reference to metal-work. In my
+great-uncle’s <em>Modern Egyptians</em> the buildings and furniture
+of Cairo are carefully and clearly described, but the subject of
+Mr. Lane’s book was the manners and customs of the modern people,
+and not the art of their forefathers. In special departments, Mr.
+Nesbitt’s <em>Catalogue of the Glass Vessels in the South
+Kensington Museum</em>, Mr. Fortnum’s corresponding <em>Catalogue
+of the Maiolica, &amp;c.</em>, and Fischbach’s <em>Geschichte der
+Textil-Kunst</em> have been consulted. Eastern historians are as a
+rule singularly destitute of the sort of information we require
+about the art of the various dynasties and capitals: they tell us
+how many pieces of gold a certain mosque or pulpit cost, but they
+seldom record where or how it was made, or who were its designers.
+Nevertheless there are a certain number of valuable indications
+scattered among the Arabic writers, and these have been collected,
+from the works of such historians and travellers as
+El-Mes’ūdy,<span class="pagenum" id="Page_x">[x]</span> Es-Suyūty,
+Ibn-Khaldūn, El-Makkary, Ibn-Batūta, Nāsir-i-Khusrau,
+‘Abd-el-Latīf, &amp;c., &amp;c., and, above all, from the
+treasure-house of the mediaeval topography and history of Egypt,
+El-Makrīzy’s <em>Khitat</em> and <em>History of the
+Mamlūks</em>.</p>
+
+<p>I have to acknowledge much private assistance from friends who
+have made Saracenic art their study. Mr. J. W. Wild, the curator of
+Sir John Soane’s Museum, than whom there lives no better authority
+on the architecture of Cairo, has kindly read and approved the
+second, third, and fourth chapters, on architecture, stone and
+plaster, and mosaic, and generously placed his interesting Egyptian
+notes and sketch-books at my disposal. Mr. H. C. Kay, whose long
+residence in Egypt and special study of Arabic mural inscriptions
+give his criticisms a high value, has read the proof sheets of most
+of the work, and some important additions have been made at his
+suggestion. Mr. A. W. Franks, the keeper of mediaeval antiquities
+in the British Museum, and his assistant, Mr. C. H. Read, have
+given me every aid in studying the fine collection of Saracenic
+metal-work under their care, and have also seen the chapters on
+metal-work, glass, and pottery in the proofs. M. Charles Schefer
+has sent me some useful references from his valuable notes and
+materials. To Franz Pasha, the architect to the Ministry of Wakfs
+in Cairo, I am indebted, not only for giving me every facility when
+in Cairo in 1883 for studying, photographing, and taking casts
+from, the monuments, but also for having ever since kept me
+supplied with photographs and reports of great value for the
+present work.</p>
+
+<p>With regard to the orthography of Eastern names, I<span class=
+"pagenum" id="Page_xi">[xi]</span> have tried to be accurate
+without pedantry. I have neglected diacritical points, which were
+not required in a book destined for the general student, and I have
+not spelt Koran with a Q. The vowels <em>a</em>, <em>e</em>,
+<em>i</em>, <em>u</em>, with the prolonged sounds <em>ā</em>,
+<em>ī</em>, <em>ū</em>, are to be sounded as in Italian;
+<em>ey</em> is to be sounded as in they; <em>aw</em> as “ow” in
+now; (‘) represents the guttural ‘eyn, and <em>g</em> (or more
+strictly ǵ), may be pronounced either as English j or hard g. The
+latter is the usual Cairo pronunciation.</p>
+
+<p>I must not conclude without expressing my obligations to Mr. J.
+D. Cooper, who has expended even more than his usual care and skill
+upon the execution of the woodcuts illustrating this work.</p>
+
+<p class="right pad-right2">S. L.-P.</p>
+
+<p class="hang3"><span class="sc">Richmond</span>,<br>
+<em>February</em>, 1886.</p>
+
+<hr class="chap">
+
+<h2 class="large"><span class="pagenum" id=
+"Page_xiii">[xiii]</span>CONTENTS.</h2>
+
+<hr class="decor width4">
+
+<table class="toc">
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c01">CHAPTER I.</a>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="tdr med">PAGE</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">The Saracens of Egypt</td>
+<td class="tdr-bot">1</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c02">CHAPTER II.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Architecture</td>
+<td class="tdr-bot">47</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c03">CHAPTER III.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Stone and Plaster</td>
+<td class="tdr-bot">95</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c04">CHAPTER IV.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Mosaic</td>
+<td class="tdr-bot">115</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c05">CHAPTER V.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Wood-work</td>
+<td class="tdr-bot">124</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c06">CHAPTER VI.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Ivory</td>
+<td class="tdr-bot">171</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c07">CHAPTER VII.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Metal-work</td>
+<td class="tdr-bot">180</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c08">CHAPTER VIII.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Glass</td>
+<td class="tdr-bot">247</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><span class="pagenum" id=
+"Page_xiv">[xiv]</span><a href="#c09">CHAPTER IX.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Heraldry on Glass and Metal</td>
+<td class="tdr-bot">268</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c10">CHAPTER X.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Pottery</td>
+<td class="tdr-bot">274</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c11">CHAPTER XI.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Textile Fabrics</td>
+<td class="tdr-bot">281</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc sect1"><a href="#c12">CHAPTER XII.</a>
+</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc">Illuminated Manuscripts</td>
+<td class="tdr-bot">298</td>
+</tr>
+
+<tr>
+<td class="tdl hang1 sc sect1top"><a href="#ind">Index</a> of
+Names, &amp;c.</td>
+<td class="tdr-bot sect1top">309</td>
+</tr>
+</table>
+
+<hr class="chap">
+
+<h2 class="large"><span class="pagenum" id=
+"Page_xv">[xv]</span>LIST OF ILLUSTRATIONS.</h2>
+
+<hr class="decor width6">
+
+<table class="toi">
+<tr>
+<td class="tdr med">FIG.</td>
+<td>
+</td>
+<td class="tdr med">PAGE</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i001">1.</a>
+</td>
+<td class="tdl-top hang1 sc">Mosque of Kait Bey</td>
+<td class="tdr-bot"><em>Frontispiece</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i002">2.</a>
+</td>
+<td class="tdl-top hang1 sc">East Colonnade of the Mosque of
+‘Amr</td>
+<td class="tdr-bot">50</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i003">3.</a>
+</td>
+<td class="tdl-top hang1 sc">Plan of the Mosque of ‘Amr</td>
+<td class="tdr-bot">51</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i004">4.</a>
+</td>
+<td class="tdl-top hang1 sc">Mosque of Ibn-Tulun</td>
+<td class="tdr-bot">55</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i005">5.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Arcades in Mosque of
+Ibn-Tulun</span> (Ninth Century)</td>
+<td class="tdr-bot">59</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i006">6.</a>
+</td>
+<td class="tdl-top hang1 sc">Diagram showing proportions of a
+Dome</td>
+<td class="tdr-bot">62</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i007">7.</a>
+</td>
+<td class="tdl-top hang1 sc">Plan of the Mosque of Sultan
+Hasan</td>
+<td class="tdr-bot">63</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i008">8.</a>
+</td>
+<td class="tdl-top hang1 sc">Ornament from the Portal of Sultan
+Hasan</td>
+<td class="tdr-bot">69</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i009">9.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Kufic Frieze in Mosque
+of Sultan Hasan</span> (Fourteenth Century)</td>
+<td class="tdr-bot">71</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i010">10.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Doorway of Smaller
+Mosque of Kait Bey</span> (Fifteenth Century)</td>
+<td class="tdr-bot">75</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i011">11.</a>
+</td>
+<td class="tdl-top hang1 sc">Doorway of a Private House</td>
+<td class="tdr-bot">79</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i012">12.</a>
+</td>
+<td class="tdl-top hang1 sc">A Street in Cairo</td>
+<td class="tdr-bot">81</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i013">13.</a>
+</td>
+<td class="tdl-top hang1 sc">Plan of a Cairo House.—Ground
+Floor</td>
+<td class="tdr-bot">83</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i013a">13A.</a>
+</td>
+<td class="tdl-top hang1 sc"><span class=
+"word-spaced8">&nbsp;„&nbsp;</span> <span class=
+"word-spaced10">&nbsp;„&nbsp;</span> First Floor</td>
+<td class="tdr-bot">84</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i013b">13B.</a>
+</td>
+<td class="tdl-top hang1 sc"><span class=
+"word-spaced8">&nbsp;„&nbsp;</span> <span class=
+"word-spaced10">&nbsp;„&nbsp;</span> Second Floor</td>
+<td class="tdr-bot">85</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i014">14.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Rosette in Mosque of
+Suyurghatmish</span> (Fourteenth Century)</td>
+<td class="tdr-bot">93</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i015">15.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Rosette in Mosque of
+Sultan Hasan</span> (Fourteenth Century)</td>
+<td class="tdr-bot">97</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i016">16.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Stone Pulpit in Mosque
+of Barkuk</span> (Early Fifteenth Century)</td>
+<td class="tdr-bot">99</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i017">17,</a> 18.</td>
+<td class="tdl-top hang1 sc">Geometrical Ornaments from the Wekala
+of Kait Bey</td>
+<td class="tdr-bot">101</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><span class="pagenum" id=
+"Page_xvi">[xvi]</span><a href="#i019">19.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Arched Ornament of the
+Wekala of Kait Bey</span> (Fifteenth Century)</td>
+<td class="tdr-bot">103</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i020">20.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Geometrical Ornament of
+the Wekala of Kait Bey</span> (Fifteenth Century)</td>
+<td class="tdr-bot">107</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i021">21.</a>
+</td>
+<td class="tdl-top hang1 sc">Elevation of part of the Shop-fronts
+of the Wekala of Kait Bey</td>
+<td class="tdr-bot">108</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i022">22.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Arabesque Ornament of
+Wekala of Kait Bey</span> (Fifteenth Century)</td>
+<td class="tdr-bot">109</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i023">23,</a> 24.</td>
+<td class="tdl-top hang1 sc">Geometrical Ornaments of the Wekala of
+Kait Bey</td>
+<td class="tdr-bot">110</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i025">25.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Rosette of the Wekala of
+Kait Bey</span> (Fifteenth Century)</td>
+<td class="tdr-bot">111</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i026">26.</a>
+</td>
+<td class="tdl-top hang1 sc">Arabesque of the Wekala of Kait
+Bey</td>
+<td class="tdr-bot">113</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i027">27.</a>
+</td>
+<td class="tdl-top hang1 sc">Geometrical Ornament of the Wekala of
+Kait Bey</td>
+<td class="tdr-bot">114</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i028">28.</a>
+</td>
+<td class="tdl-top hang1 sc">Mosaic Dado</td>
+<td class="tdr-bot">117</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i029">29.</a>
+</td>
+<td class="tdl-top hang1 sc">Mosaic Pavement</td>
+<td class="tdr-bot">118</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i030">30.</a>
+</td>
+<td class="tdl-top hang1 sc">Mode of Bevelling Mosaics</td>
+<td class="tdr-bot">119</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i031">31.</a>
+</td>
+<td class="tdl-top hang1 sc">Mosaic Pavement</td>
+<td class="tdr-bot">122</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i032">32.</a>
+</td>
+<td class="tdl-top hang1 sc">Carved Panel of Pulpit</td>
+<td class="tdr-bot">125</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i033">33.</a>
+</td>
+<td class="tdl-top hang1 sc">Carved Panel of Pulpit</td>
+<td class="tdr-bot">126</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i034">34.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Pulpit of Sultan Kait
+Bey</span> (Fifteenth Century)</td>
+<td class="tdr-bot">127</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i035">35,</a> 36, 37, 38.</td>
+<td class="tdl-top hang1 sc">Carved Panels of Lagin’s Pulpit, once
+in the Mosque of Ibn-Tulun. a.d. 1296</td>
+<td class="tdr-bot">130</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i039">39.</a>
+</td>
+<td class="tdl-top hang1 sc">Arabesque Panel of Lagin’s Pulpit,
+once in the Mosque of Ibn-Tulun</td>
+<td class="tdr-bot">131</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i040">40.</a>
+</td>
+<td class="tdl-top hang1 sc">Panel of Lagin’s Pulpit, bearing his
+Name and Titles</td>
+<td class="tdr-bot">131</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i041">41.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Carved Panels from
+Pulpit (of Kusun?)</span> (Fourteenth Century)</td>
+<td class="tdr-bot">133</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i042">42.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Carved Panels from
+Pulpit (of Kusun?)</span> (Fourteenth Century)</td>
+<td class="tdr-bot">135</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i043">43.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Carved Panels of the
+tomb of Es-Salih Ayyub</span> (Thirteenth Century)</td>
+<td class="tdr-bot">137</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i044">44.</a>
+</td>
+<td class="tdl-top hang1 sc">Carved Panel of a Sheykh’s Tomb. a.d.
+1216</td>
+<td class="tdr-bot">141</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i045">45.</a>
+</td>
+<td class="tdl-top hang1 sc">Panel of a Door from Damietta</td>
+<td class="tdr-bot">142</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i046">46,</a> 47.</td>
+<td class="tdl-top hang1"><span class="sc">Carved Panels from the
+Maristan of Kalaun</span> (Thirteenth Century)</td>
+<td class="tdr-bot">143</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i048">48.</a>
+</td>
+<td class="tdl-top hang1 sc">Carved Panel from the Maristan of
+Kalaun</td>
+<td class="tdr-bot">145</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><span class="pagenum" id=
+"Page_xvii">[xvii]</span><a href="#i049">49.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">146</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i050">50.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">148</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i051">51.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">150</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i052">52.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">151</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i053">53.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">152</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i054">54.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">153</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i055">55.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">154</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i056">56.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">155</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i056a">56A.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">157</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i057">57.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">159</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i058">58.</a>
+</td>
+<td class="tdl-top hang1 sc">Lattice-work</td>
+<td class="tdr-bot">160</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i059">59,</a> 60.</td>
+<td class="tdl-top hang1 sc">Carved and Inlaid Lattice-work</td>
+<td class="tdr-bot">161</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i061">61.</a>
+</td>
+<td class="tdl-top hang1 sc">Panelled Door from a Copt’s House</td>
+<td class="tdr-bot">163</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i062">62,</a> 63, 64.</td>
+<td class="tdl-top hang1 sc">Panelled Doors</td>
+<td class="tdr-bot">165</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i065">65.</a>
+</td>
+<td class="tdl-top hang1 sc">Ceiling of Appliqué work</td>
+<td class="tdr-bot">166</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i066">66.</a>
+</td>
+<td class="tdl-top hang1 sc">Table (Kursy)</td>
+<td class="tdr-bot">167</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i067">67.</a>
+</td>
+<td class="tdl-top hang1 sc">Ceiling of a Meshrebiya</td>
+<td class="tdr-bot">169</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i068">68.</a>
+</td>
+<td class="tdl-top hang1 sc">Carved Ivory Panel</td>
+<td class="tdr-bot">172</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i069">69.</a>
+</td>
+<td class="tdl-top hang1 sc">Carved Ivory Panels of a Pulpit
+Door</td>
+<td class="tdr-bot">173</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i070">70.</a>
+</td>
+<td class="tdl-top hang1 sc">Inlaid Ivory and Ebony Door</td>
+<td class="tdr-bot">175</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i071">71.</a>
+</td>
+<td class="tdl-top hang1 sc">Inlaid Ivory and Ebony Panel from a
+Table</td>
+<td class="tdr-bot">177</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i072">72.</a>
+</td>
+<td class="tdl-top hang1 sc">Ivory Ink Horn</td>
+<td class="tdr-bot">179</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i073">73.</a>
+</td>
+<td class="tdl-top hang1 sc">Inscription interwoven with figures on
+the “Baptistery of St. Louis”</td>
+<td class="tdr-bot">183</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i074">74.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Table from Maristan of
+Kalaun</span> (Thirteenth Century)</td>
+<td class="tdr-bot">187</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i075">75.</a>
+</td>
+<td class="tdl-top hang1 sc">Panel of Table of En-Nasir, son of
+Kalaun</td>
+<td class="tdr-bot">190</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i076">76.</a>
+</td>
+<td class="tdl-top hang1 sc">Lamp of Sultan Beybars II. (a.d.
+1309-10)</td>
+<td class="tdr-bot">191</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i077">77.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Base of Chandelier of
+Sultan El-Ghory</span> (Sixteenth Century)</td>
+<td class="tdr-bot">195</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i078">78.</a>
+</td>
+<td class="tdl-top hang1 sc">Lantern of Sheykh ‘Abd-el-Basit</td>
+<td class="tdr-bot">197</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i079">79.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Cover of Sherbet
+Bowl</span> (Sixteenth Century)</td>
+<td class="tdr-bot">201</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i080">80.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Casket of El-‘Adil,
+Grand Nephew of Saladin</span> (Thirteenth Century)</td>
+<td class="tdr-bot">205</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i081">81.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Perfume-burner of
+Beysary</span> (Thirteenth Century)</td>
+<td class="tdr-bot">211</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><span class="pagenum" id=
+"Page_xviii">[xviii]</span><a href="#i082">82.</a>
+</td>
+<td class="tdl-top hang1 sc">Inlaid Silver Panels of the
+“Baptistery of St. Louis”</td>
+<td class="tdr-bot">219</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i083">83,</a> 84, 85, 86.</td>
+<td class="tdl-top hang1 sc">Bronze Plaques from Door of Beybars
+I.</td>
+<td class="tdr-bot">224</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i087">87.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Brass Bowl inlaid with
+Silver</span> (Fourteenth Century)</td>
+<td class="tdr-bot">231</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i088">88.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Brass Candlestick inlaid
+with Silver</span> (Fourteenth Century)</td>
+<td class="tdr-bot">235</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i089">89.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Brass Bowl of Kait
+Bey</span> (Fifteenth Century)</td>
+<td class="tdr-bot">237</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i090">90.</a>
+</td>
+<td class="tdl-top hang1 sc">Lamp from Jerusalem</td>
+<td class="tdr-bot">241</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i091">91.</a>
+</td>
+<td class="tdl-top hang1 sc">Arms for Lion-hunting</td>
+<td class="tdr-bot">245</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i092">92.</a>
+</td>
+<td class="tdl-top hang1 sc">Diagram of Glass Lamp</td>
+<td class="tdr-bot">252</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i093">93.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Glass Lamp of
+Akbugha</span> (Fourteenth Century)</td>
+<td class="tdr-bot">257</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i094">94.</a>
+</td>
+<td class="tdl-top hang1 sc">Vase of Sultan Beybars II.</td>
+<td class="tdr-bot">262</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i095">95,</a> 96.</td>
+<td class="tdl-top hang1 sc">Stained Glass Windows</td>
+<td class="tdr-bot">264</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i097">97,</a> 98.</td>
+<td class="tdl-top hang1 sc">Stained Glass Windows</td>
+<td class="tdr-bot">265</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i099">99.</a>
+</td>
+<td class="tdl-top hang1 sc">Asyut Coffee-pot</td>
+<td class="tdr-bot">275</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i100">100.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Silk Fabric of
+Iconium</span> (Thirteenth Century)</td>
+<td class="tdr-bot">283</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i101">101.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Damask, worn by Henry
+the Saint</span> (Eleventh Century)</td>
+<td class="tdr-bot">291</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i102">102.</a>
+</td>
+<td class="tdl-top hang1 sc">Silk Fabric of Egypt or Sicily</td>
+<td class="tdr-bot">295</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i103">103.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Illuminated Koran of
+Sultan Sha‘ban</span> (Fourteenth Century)</td>
+<td class="tdr-bot">299</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i104">104.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Illuminated Koran of
+Sultan Sha‘ban</span> (Fourteenth Century)</td>
+<td class="tdr-bot">303</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><a href="#i105">105.</a>
+</td>
+<td class="tdl-top hang1"><span class="sc">Illuminated Koran of
+Sultan El-Muayyad</span> (Fifteenth Century)</td>
+<td class="tdr-bot">305</td>
+</tr>
+</table>
+
+<hr class="decor width6">
+
+<p class="less"><sup>*</sup><sub>*</sub><sup>*</sup> The Department
+is indebted to Mr. John Murray for the use of Figs. 3 and 7; to
+Messrs. Virtue & Co. for Figs. 2, 4, 25, 66, 71, 74-8, 99; to
+Messrs. Cassell for Figs. 8, 9, 13, 91, 94, 101-5; to M. Leroux for
+Figs. 73, 82, 90; and to M. Giraud for Fig. 100.</p>
+
+<hr class="chap">
+
+<p class="center xlarge pb spaced17 space-above space-below1">
+<span class="pagenum" id="Page_1">[1]</span><em>THE ART OF THE
+SARACENS<br>
+IN EGYPT.</em>
+</p>
+
+<hr class="decor width4">
+
+<h2 class="nopb"><a id="c01"></a>CHAPTER I.</h2>
+
+<p class="sch1">THE SARACENS OF EGYPT.</p>
+
+<p class="nind"><span class="sc">The</span> study of any branch of
+art supposes some acquaintance with the history of the people among
+whom the art was practised. Without such knowledge not only is much
+of the interest lost by the inability to enjoy the associations
+which the imagination winds about the possessions and works of
+historical personages,—always a strong attraction in antiquarian
+studies,—but we even lack the data upon which to construct a true
+and natural sequence of the art itself. Especially important is the
+aid lent by history to Mohammadan art. It frequently happens that
+the analogies that go to make up the style of a given period are
+obscure and difficult to seize in the scattered relics of Saracenic
+handiwork, and our only safe guides are the names of princes and
+nobles which the artist, allured by the fluent grace of the Arabic
+writing as much as by the desire to record the name of the nobleman
+who expended his treasure upon skilful work, was accustomed to
+engrave upon most of his productions. These inscriptions, which
+seldom record the name of the artist himself, but frequently that
+of the great man for whom the work was executed, are a prominent
+feature in Saracenic art, and form an invaluable aid to the student
+in establishing a definite and indisputable sequence of styles. The
+mosques were naturally inscribed with the name of the
+pious<span class="pagenum" id="Page_2">[2]</span> founder; and when
+a later grandee devoted his wealth to restoring the sacred
+building, he too would place his deed on record, over the entrance,
+or above the niche, and his new pulpit or carved door would be duly
+inscribed with his name: thus we are furnished with the dates both
+of foundation and restoration,—a circumstance of the utmost value
+in Egyptian architecture. Most of the smaller objects of art, such
+as metal bowls, glass lamps, and trays, have inscriptions, and a
+large proportion of these contain the name of some Sultan or noble
+who is well known to history. From such information we are able in
+most branches of Saracenic art to weld a chain of artistic
+development which enables us with little difficulty to class most
+of the undated specimens.</p>
+
+<p>In the following pages such a chain of examples of known date
+will be found illustrated and described; but it is not the less
+necessary to provide the reader with the means of ascertaining for
+himself the date of an example which he may possess, and which may
+not be susceptible of positive identification by the help of the
+engravings in this work. For this purpose a slight knowledge, at
+least, of the history of Egypt under the Saracens is necessary, and
+the details, which cannot be given in so brief an outline as is
+possible in the present limits of space, may be to some extent
+supplied by the chronological tables which are appended to this
+chapter.</p>
+
+<p>The writer on the art and history of the Mohammadan East labours
+under the disadvantage of being obliged to begin at the very
+beginning; to assume in his reader an ignorance not merely of the
+chief names of Saracenic history, but even of whole dynasties, and
+their places in general history. A person of ordinary education may
+possess some acquaintance with the early events of the Muslim
+empire, the life of the Prophet Mohammad, the first sweep of
+conquest, and perhaps even the Khalifates of Damascus, Baghdad, and
+Cordova. In the later history of the Arab empire, a name here and
+there, a Saladin or Nūreddīn, a Hākim or a Boabdil, may be known;
+but the rest is naturally a<span class="pagenum" id=
+"Page_3">[3]</span> blank. People have enough to learn in the
+present day without attempting Oriental history. In describing the
+art of Greece or of Italy we are generally on familiar ground; the
+names of Pericles and Hiero, of the Medici and the Sforze, ought to
+be as well known as that of Wolsey or William of Wykeham. In
+Eastern history we must perforce take nothing as known until it has
+been explained; and in doing so now, no discourtesy is designed
+towards those few who are acquainted with the history, and who
+will, I am sure, forgive repetition for the sake of the larger
+number whose studies have not been directed to Oriental
+subjects.</p>
+
+<p>The history of Egypt under Mohammadan rulers extends from the
+middle of the seventh century to the present day; but we are only
+concerned with that portion of those twelve centuries which bears
+an intimate relation to the development of Saracenic art. The
+earliest monument which undoubtedly preserves its original design
+and ornament is the mosque of Ibn-Tūlūn, built in the latter part
+of the ninth century (878); after this we have but five or six
+monuments of the tenth, eleventh, and twelfth centuries, and then
+the most brilliant period of mediaeval Egyptian art opens with the
+accession of the Mamlūks. Again, after the destruction of the
+Mamlūk power by the Ottoman conqueror Selīm in the beginning of the
+sixteenth century, though a few rare survivals of the ancient
+artistic genius of the Saracens are found, and in the smaller
+branches of skilled industry, in wood-work, glass, and mosaic, the
+workmen of Egypt continued to produce some excellent results, the
+energy and enthusiasm of the artists languished for lack of
+encouragement, and as a rule the period of Turkish domination
+furnishes but the record of a long and dreary process of
+degradation in every branch of art, until the nadir of Eastern art
+was reached in the palaces of the Khedives. The period of the
+finest and most abundant works of art is that of the Mamlūks, from
+the thirteenth to the beginning of the sixteenth century, and to
+these three centuries we must devote our chief attention. Of the
+earlier periods a very slight outline is<span class="pagenum" id=
+"Page_4">[4]</span> all that can be attempted. The rule of the
+Fātimy Khalifs indeed is recorded to have been signalized by
+extraordinary artistic productiveness: but too few examples of this
+period have come down to us to justify us in giving it a rank equal
+to that of the Mamlūks.</p>
+
+<p>The history of Mohammadan Egypt falls into eight divisions: (1)
+the period of governors appointed by the Khalifs of Damascus and of
+Baghdād <span class="no-wrap">(<span class="fraction"><span class=
+"numerator">A.H. 21-254</span><span class="denominator">A.D.
+641-868</span></span>);</span> (2) the dynasty of Tūlūn
+<span class="no-wrap">(<span class="fraction"><span class=
+"numerator">254-292</span><span class=
+"denominator">868-904</span></span>);</span> (3) an interval of
+governors appointed by the Khalifs of Baghdād <span class=
+"no-wrap">(<span class="fraction"><span class=
+"numerator">292-323</span><span class=
+"denominator">904-935</span></span>);</span> (4) the dynasty of
+Ikhshīd <span class="no-wrap">(<span class="fraction"><span class=
+"numerator">323-358</span><span class=
+"denominator">935-969</span></span>);</span> (5) the Fātimy Khalifs
+<span class="no-wrap">(<span class="fraction"><span class=
+"numerator">358-567</span><span class=
+"denominator">969-1171</span></span>);</span> (6) the Ayyūby house
+of Saladin <span class="no-wrap">(<span class=
+"fraction"><span class="numerator">567-648</span><span class=
+"denominator">1171-1250</span></span>);</span> (7) the Mamlūks,
+Turkish (Bahry) and Circassian (Burgy), <span class=
+"no-wrap">(<span class="fraction"><span class=
+"numerator">648-922</span><span class=
+"denominator">1250-1516</span></span>);</span> and (8) the period
+of Turkish Pashas, ending in the dynasty of Mohammad ‘Aly (Mehemet
+Ali).</p>
+
+<p>1. In <span class="sc2">A.D.</span> 639, the eighteenth year
+after the Higra or Flight of Mohammad from Mekka to Medīna, ‘Amr,
+the general of the Khalif ‘Omar, invaded the Egyptian province of
+the Byzantine empire. Aided by the factious divisions which
+sundered the Greek and Coptic Christians, and made the latter eager
+to welcome any invader who would bring down the arrogance of the
+Melekites, ‘Amr was soon able to march on Alexandria, the first
+city of the East, and after a siege of fourteen months, on the
+first day of the Mohammadan year 21 (10th December 641), captured
+it. The victorious general was named the first Muslim governor of
+Egypt, and the spot where he pitched his tent (in Arabic, Fustāt)
+became the site of the new capital of Egypt, El-Fustāt, which
+speedily grew to handsome proportions. From the time of ‘Amr,
+<span class="sc2">A.H.</span> 21, to the appointment of Ibn-Tūlūn
+in <span class="sc2">A.H.</span> 254, a period of 233 years, 98
+governors, nominated by the Khalifs of Damascus and Baghdād, ruled
+the province of Misr or Egypt (the name Misr is given both to the
+country and to its capital); and as some of these enjoyed more than
+one term of office, there were 105 changes of<span class="pagenum"
+id="Page_5">[5]</span> government in 233 years, giving an average
+of about two years and a quarter for each governor. A ruler liable
+to be removed at any moment, and enjoying so brief a term of
+office, was not likely to occupy himself with the embellishment of
+a capital which after a few months’ or years’ reign he might never
+see again, and he probably directed his energies, like a Turkish
+Pasha, to accumulating all the wealth he could with his brief
+opportunities. We have no monuments of the period of the governors,
+with the exception of the mosque of ‘Amr, at Fustāt, which has been
+too often restored to furnish trustworthy evidence as to the style
+of architecture or decoration. The governors indeed built other
+edifices; the representatives of the ‘Abbāsy Khalifs founded in 133
+a new quarter of the capital, adjoining Fustāt, which was called
+El-‘Askar, or “the Camp,” because the soldiers first had their
+quarters there; and here they erected a government house and a
+mosque, of which, however, no trace now remains. El-‘Askar was
+never more than an official quarter: the capital was still
+Fustāt.</p>
+
+<p>2. <em>Ahmad Ibn-Tūlūn</em> was a Turkish governor appointed by
+the ‘Abbāsy Khalif, in 868, but after a year he asserted his
+independence, while still rendering homage to the Khalif as his
+spiritual lord by retaining his name on the coinage and in the
+public prayers. Ibn-Tūlūn was the first Mohammadan ruler who
+founded a dynasty in Egypt; he was also the first to unite Syria
+with Egypt, as did all independent sovereigns of Egypt afterwards;
+and he was the first great encourager of Saracenic Art; for he
+abandoned the old government house at El-‘Askar, and built a new
+suburb, connecting that quarter with the citadel hill, which he
+called El-Katāi‘, or “the Wards,” either because a large part of it
+was given in feof to the numerous colonels of his 30,000 troops, or
+because the new suburb was partitioned into various quarters
+allotted to different nations and separate trades. Both El-‘Askar
+and El-Katāi‘ were fashionable suburbs, where the nobility and men
+of position resided; and the streets were full of
+splendid<span class="pagenum" id="Page_6">[6]</span> houses. But
+the glory of the latest suburb was the mosque of Ibn-Tūlūn, of
+which we shall have more to say hereafter. It is the first
+undoubted example of true Saracenic art in Egypt, and one of the
+noblest monuments in the East. Ibn-Tūlūn also built himself a
+stately palace, with a <em>meydān</em> or race-course attached,
+where the Sultan and his courtiers played at polo. One of the many
+splendid gates of this meydān was called the “Gate of Lions,”
+because it was surmounted by two lions in plaster; another was
+called the Sāg gate, since it was made of that wood. Around rose
+the handsome palaces of the generals; the mosques and the baths;
+the windmills and brick-kilns; the great hospital; the markets for
+the assayers, perfumers, cloth merchants, fruiterers, cooks, and
+other trades, all well built and densely populated. The palace,
+mosque, race course, and hospital, together cost a sum of nearly
+300,000 dīnārs of gold; and the annual revenue from taxes, to meet
+this vast outlay, and the expenses of government, was placed at
+4,300,000 dīnārs. To which fact may be added the instructive
+comment that at the time of Ahmad’s death no less than 18,000
+persons were found in the prisons. His son Khumāraweyh, who
+succeeded in 883, carried this passion of splendid luxury to its
+height. He turned the meydān into a garden, filled with lilies,
+gilliflowers, saffron, and palms and trees of all sorts, the trunks
+of which he coated with copper gilt, behind which leaden pipes
+supplied fountains which gushed forth to water the garden. In the
+midst rose an aviary tower of sāg wood; the walls were carved with
+figures and painted with various colours. Peacocks, guinea-fowls,
+doves and pigeons, with rare birds from Nubia, had their home in
+the garden and aviary. There was also a menagerie, and especially a
+blue-eyed lion who crouched beside his master when he sat at table,
+and guarded him when he slept. In the palace, Khumāraweyh built the
+“Golden Hall,” the walls whereof were covered with gold and azure,
+in admirable designs, and varied by bas-reliefs of himself and his
+wives (if we are to credit the historians), and even of the
+<em>prime<span class="pagenum" id="Page_7">[7]</span> donne</em> of
+the court. They were carved in wood, life-size, and painted with
+exquisite art, so that the folds of the drapery seemed natural;
+they wore crowns of pure gold and turbans set with precious stones,
+and jewelled earrings. Such figures are unparalleled in Saracenic
+art; yet the account is too detailed to be altogether a fiction.
+But the chief wonder of Khumāraweyh’s palace remains to be
+described: it was a lake of quicksilver. On the surface of the
+lake, lay a leather bed inflated with air, fastened by silk bands
+to four silver supports at the corners; here alone the insomnolent
+sovereign could take his rest. Of all these marvels, and the
+splendid harīm rooms, the spacious stables, the furniture,
+wine-cups, rich silk robes, inlaid swords, and shields of steel,
+nothing has come down to us. We are obliged to take the mosque of
+Ibn-Tūlūn as witness to the consummate luxury and artistic eminence
+of the period.</p>
+
+<p>3. After the fall of the dynasty of Tūlūn, owing to the weakness
+of the later members of the family, who paid the common penalty of
+their Capua, <em>governors</em> appointed by the Khalifs once more
+exercised their monotonous sway over Egypt, and again there is
+nothing to record in works of art.</p>
+
+<p>4. Nor did the accession of Mohammad <em>El-Ikhshīd</em>, in
+935, bring any change for the better in this respect. El-Ikhshīd
+followed the example of Ibn-Tūlūn, and made himself independent
+ruler of both Egypt and Syria, but he left no great works behind
+him, nor did his dynasty contribute to the monuments of the
+Saracens. His two sons were under the tutorship of the eunuch
+Abu-l-Misk Kāfūr, “Father of Musk, Camphor,” who ruled the kingdom
+well, kept a generous open table, where 1700 pounds of meat were
+consumed daily, but was unable to resist the invasion of the Fātimy
+Khalif, El-Mu‘izz, who conquered Egypt in 969, and Syria in the
+following year, and also annexed the Arabian provinces of the Higāz
+and the Yemen.</p>
+
+<p>5. Hitherto the rulers of Egypt had been at least appointed by
+the lawful heads of the Mohammadan Empire, the Khalifs, first
+of<span class="pagenum" id="Page_8">[8]</span> Damascus, and then
+of Baghdād; many of them were Turks or Tartars, notably Ibn Tūlūn
+and El-Ikhshīd, who both came from beyond the Oxus; but they were
+not the less the servants of the Khalifs. In the Fātimy Khalifs we
+see for the first time an heretical line of rulers invading the
+empire of the Khalifs, and owning no sort of allegiance to them.
+The Fātimy Khalifs had created a kingdom in Tunis upon the ruins of
+the Aghlaby power, and now they proceeded to add the dominions of
+the Ikhshīdīs to their realm. They transferred their seat of
+government from Tunis to Egypt (and thereby soon lost their western
+provinces), and founded a new suburb, or rather a vast palace,
+which was called <em>El-Kāhira</em>, or Cairo. The design of the
+Fātimy general Gauhar was simply to build a palace for his master,
+the Khalif, where that sacred personage might be able to enjoy
+perfect seclusion; and it was only in much later times, after the
+burning of Fustāt, that El-Kāhira became really a city. El-Kāhira
+was, in fact, originally but a walled enclosure with double
+earthworks, about three quarters of a mile long and half a mile
+broad, containing the two royal palaces, one called the Great
+Palace (which was so extensive that on the fall of the Fātimy
+dynasty, in 1171, it was found to contain 12,000 women and
+eunuchs), the other, the Small Palace, overlooking the
+pleasure-grounds; and the two were connected under the open space
+which divided them (and which is still known as the street
+<em>Beyn-el-Kasreyn</em>, “Betwixt the Palaces”), by a subterranean
+passage. Close to the Eastern or Great Palace was the Imperial
+Mausoleum, in which El-Mu‘izz deposited the bones of his ancestors,
+which he brought with him from their places of sepulture in the
+west. Further south was the mosque, also built by Gauhar, in which
+the Khalif, as Imām of his subjects, conducted the Friday prayers.
+The palaces received the name of <em>El-Kusūr ez-Zāhira</em>, “the
+Splendid Palaces,” and the mosque that of El-Azhar, “the Most
+Splendid,” which it still retains, and under which it has long been
+widely known as the great seat of Mohammadan learning, frequented
+by students from the most<span class="pagenum" id=
+"Page_9">[9]</span> distant countries of Islam. In addition to the
+garrison’s quarters, many other buildings are enumerated,
+sufficient to account for the remaining space; such were the
+treasury, mint, library, audience-halls, arsenals,
+provision-stores, and imperial stables. No person was allowed to
+enter within the walls of El-Kāhira but the soldiers of the
+garrison and the highest officials of the state, whose greatest
+privilege was that of approaching the sacred person of the Khalif.
+Ambassadors from foreign lands were obliged to dismount at the
+gates of the fortress, and were conducted thence to the
+audience-hall on foot, an official on either side grasping their
+hands.<a id="FNanchor_1"></a><a href="#Footnote_1" class=
+"fnanchor">[1]</a> The old gates of Cairo are the gates of this
+palace or fort, built by order of Bedr el-Gemāly, in 1087, by three
+Greeks.</p>
+
+<p>Thus the capital of Egypt underwent a third move to the
+north-east: first was El-Fustāt, founded by ‘Amr, close to the
+Roman fortress of Babylon; then El-‘Askar, a move north-east, built
+by the ‘Abbāsy governors; thirdly, El-Katāi‘, the creation of
+Ibn-Tūlūn (which remained an important suburb until desolated by
+the great famine of El-Mustansir’s reign); and now, fourthly,
+Cairo, the site of the Fātimy palace. Of these, the scanty remains
+of El-Fustāt are seen in what is called Masr-el-Atīka, or “Old
+Cairo;” El-‘Askar and El-Katāi‘ have disappeared, save the mosque
+of Ibn-Tūlūn, and part of their site has been covered by later
+houses; El-Kāhira is Cairo, but has greatly expanded since the time
+when it comprised little more than the huge palace of the Fātimy
+Khalifs: new suburbs have joined it to the Citadel on one side, and
+prolonged it beyond the northern gates on the other. Yet Cairo is
+practically the Fātimy capital, though, unfortunately, beyond the
+mosques of the Azhar and El-Hākim, built in 971 and 990, and a
+fragment here and there, nothing remains of all the splendour which
+the historians attribute to these celebrated Khalifs.<a id=
+"FNanchor_2"></a><a href="#Footnote_2" class="fnanchor">[2]</a>
+Reference<span class="pagenum" id="Page_10">[10]</span> will
+frequently be found in the following pages to the costly
+possessions of these rulers, especially those included in the
+well-known Inventory of El-Mustansir, and it will suffice here to
+remark that the Fātimis even surpassed Ibn-Tūlūn in magnificence
+and the encouragement of every branch of art, and that to them,
+more perhaps than to any other Eastern dynasty, we owe the
+introduction of Saracenic design into southern Europe. The
+Mohammadan Amīrs of Sicily, who left so rich a legacy of art to the
+Norman kings, were vassals of the Fātimy Khalifs.</p>
+
+<p>6. How Saladin—or, to be accurate, Salāh-ed-dīn Yūsuf, son of
+Ayyūb—was despatched to Egypt with the troops of Nūr-ed-dīn, Sultan
+of Damascus, to support the cause of one of those powerful vizirs
+who by their arrogance and rivalry had prepared the downfall of the
+Egyptian Government, and how the brilliant young soldier and
+statesman soon found his way to depose the last of the Fātimy
+Khalifs and assume the supreme authority himself, are almost
+matters of European history. The period of Ayyūby rule from 1171,
+when the prayers were ordered to be said no longer in the name of
+the heretical Khalif, but in that of the Khalif of Baghdād, the
+orthodox head of Islām, to the year 1250, when the sovereignty
+descended to the Mamlūks, falls within a century, but it was filled
+with wars and deeds that have made this period known even to
+European readers. El-Mu‘izz the Fātimy had changed Egypt from a
+province into a kingdom with a definite political significance;
+Saladin transformed the kingdom into a powerful empire. The long
+struggle with the Crusaders, the victory of Tiberias, the conquest
+of Jerusalem, the well-known treaty with Richard Cœur de Lion,
+though most familiar to us,<span class="pagenum" id=
+"Page_11">[11]</span> form but a part of Saladin’s exploits. He
+made his power felt far beyond the borders of Palestine; his arms
+triumphed over hosts of valiant princes to the banks of the Tigris,
+and when he died, in 1193, at the early age of 57, he left to his
+sons and kinsmen, not only the example of the most chivalrous,
+honourable, and magnanimous of kings, but substantial legacies of
+rich provinces, extending from Aleppo and Mesopotamia to Arabia and
+the Country of the Blacks.</p>
+
+<p>And, like so many of his successors the Mamlūks, Saladin
+combined in a marked degree the passion for war with the love of
+the beautiful. The third wall, and the Citadel of Cairo, with its
+magnificent buildings, now alas destroyed, bore witness to his
+encouragement of architecture. The citadel was begun in 1176, with
+materials obtained from some of the smaller pyramids of Gīza, and
+so strongly and carefully was it constructed that when Saladin died
+the fortress was not yet completed, but remained unfinished until
+the year 604 = 1207. The eunuch Karākūsh, “Black Eagle,” was
+entrusted with the superintendence of the work, and this may
+account for the sculpture of an eagle on the Citadel wall. The
+present massive gate, within which is the passage where the
+massacre of the last descendants of the Mamlūks by Mohammad ‘Aly
+took place in 1811, is an eighteenth century work, but the walls
+and part of the internal masonry belong to Saladin’s fortress. Of
+the mosque and palace, however, no trace remains. The so-called
+“Hall of Joseph,” or <em>Kasr Yūsuf</em> (which was Saladin’s name
+as well as the patriarch’s), pulled down about 1830, was really the
+<em>Dār-el-‘Adl</em>, or “Hall of Justice,” of the Mamlūk Sultan
+En-Nāsir, more than a century later. The deep well with its massive
+masonry is, however, attributed to Saladin, and there used to be
+ruins of a solid and beautifully decorated mansion which was known,
+rightly or not, as the “House of Salāh-ed-dīn Yūsuf.”</p>
+
+<p>Saladin’s empire needed a strong hand to keep it united, and the
+number of relations, sons and nephews, who demanded
+their<span class="pagenum" id="Page_12">[12]</span> share of the
+wide provinces, rendered the survival of the Ayyūby dominion
+precarious. Saladin’s brother, El-‘Adil, the “Saphadin” of the
+Crusades, indeed controlled the centrifugal tendencies of his
+kindred for a while, and his son El-Kāmil gloriously defeated Jean
+de Brienne on the spot where the commemorative city of El-Mansūra,
+“the Victorious,” was afterwards erected by the conqueror. After
+his death, in 1237, however, the forces which made for
+disintegration became too strong to be resisted; various petty
+dynasties of the Ayyūby family were temporarily established in the
+chief provinces, only to make way shortly for the Tartars, and in
+Egypt and Syria notably for the Mamlūks, who in 1250 succeeded to
+the glories of Saladin.</p>
+
+<p>The monuments of the Ayyūbīs that are still standing, besides
+the Citadel and third wall, are very few. The fine ornament of the
+interior in the tomb-mosque of Esh-Shāfi‘y belongs at least in part
+to El-Kāmil; the tomb and college of Es-Sālih Ayyūb, son of
+El-Kāmil, are still partly preserved opposite Kalaūn’s Māristān;
+and there are, or were, fragments of his once splendid castle on
+the Island of Rōda, on the Nile—the island which gave his Mamlūks
+the epithet of <em>Bahry</em>, or “River-y”—the materials of which
+were used in the construction of En-Nāsir’s Mosque in the Citadel.
+The Kāmilīya Mosque has unhappily disappeared, though not before
+some valuable sketches had been made by Mr. James Wild.</p>
+
+<p>7. The word <em>Mamlūk</em> means “owned,” and is applied to
+white slaves, acquired by capture in war or purchase in the market.
+The two dynasties of Mamlūks were lines of white slaves, imported
+for the protection of the Ayyūby Es-Sālih against his kinsmen and
+the Franks, and who presently acquired the power and the government
+of Egypt. They were reinforced from time to time by fresh
+purchases, for the climate of Egypt was unfavourable to the
+fertility of foreign immigrants, and the stock had to be refreshed
+from outside. Es-Sālih’s Mamlūks were loyal servants; they defended
+his kingdom while he lived, and it was their brilliant charge under
+Beybars that routed the French army and brought about the
+capture<span class="pagenum" id="Page_13">[13]</span> of St. Louis
+himself. Es-Sālih’s son was a drunken debauchee, and helpless to
+meet the difficulties in which his kingdom was involved. In
+circumstances that hardly left an alternative, he was put out of
+the way, and a lady, Sheger-ed-durr, “Tree of Pearls,” ascended the
+throne of her late husband and master Es-Sālih, as the first Slave
+Monarch of Mohammadan Egypt. Her rule was but brief; jealousy led
+her to murder the Mamlūk chief Aybek, whom she had married for
+political reasons, and she paid the penalty of her crime by being
+herself beaten to death with the bath-clogs of some female slaves
+who sympathized with her rival. After her death began that singular
+succession of Mamlūk Sultans, which lasted, in spite of special
+tendencies to dissolution, for two hundred and seventy-five
+years.</p>
+
+<p>The external history of these years is monotonous. Wars to repel
+the invasions of the Tartars or to drive the Christians from the
+Holy Land, struggles between rival claimants to the throne,
+embassies to and from foreign powers, including France and Venice,
+the Khan of Persia, and the King of Abyssinia, constitute the
+staple of foreign affairs. To enumerate the events of each reign,
+or even the names of the fifty Mamlūks who sat on the throne at
+Cairo, would be wearisome and unprofitable to the reader: the
+chronological tables at the end of this chapter will tell all that
+need be told. But it is different with the internal affairs of the
+Mamlūk period. In this flowering time of Saracenic art, a real
+interest belongs to the life and social condition of the people who
+made and encouraged the finest productions of the Mohammadan
+artist, and it will not be superfluous to explain briefly what the
+condition of Egypt was under her Mamlūk rulers. Some consideration
+of this subject is almost demanded by the startling contrasts
+offered by the spectacle of a band of disorderly soldiers, to all
+appearance barbarians, prone to shed blood, merciless to their
+enemies, tyrannous to their subjects, yet delighting in the
+delicate refinements which art could afford them in their home
+life, lavish in the endowment of pious foundations, magnificent
+in<span class="pagenum" id="Page_14">[14]</span> their mosques and
+palaces, and fastidious in the smallest details of dress and
+furniture. Allowing all that must be allowed for the passion of the
+barbarian for display, we are still far from an explanation how the
+Tartars chanced to be the noblest promoters of art, of literature,
+and of public works, that Egypt had known since the days of
+Alexander the Great.</p>
+
+<p>During this brilliant period the population of Egypt was sharply
+divided into two classes, who had little in common with each other.
+One was that of the Mamlūks, or military oligarchy, the other the
+mass of the Egyptians. The latter were useful for cultivating the
+land, paying the taxes which supported the Mamlūks, and
+manufacturing their robes, but beyond these functions, and that of
+supplying the judicial and religious posts of the empire, they had
+small part in the business of the state, and appear to have been
+very seldom incorporated into the ranks of their foreign masters.
+The names of the Mamlūks that have descended to us in the accurate
+and detailed pages of El-Makrīzy are generally Tartar or
+Turkish,<a id="FNanchor_3"></a><a href="#Footnote_3" class=
+"fnanchor">[3]</a> and even when they are ordinary Arabic names,
+they were borne by Tartars who had put on an Arabic name along with
+the speech, dress, and country of their adoption. In the glories,
+military and ceremonial, of the Mamlūks the people had no part.
+They were indeed thankful when a mild sovereign, like Lāgīn,
+ascended the throne, and when taxes were reduced and bakhshish
+distributed, and they would join, like all populaces, in the
+decoration of the streets and public rejoicings, when the
+Sultan<span class="pagenum" id="Page_15">[15]</span> came back from
+a career of conquest, or recovered from an illness; but they had no
+voice in the government of the country, and must make the best they
+might of the uncertain characters of their ever-changing rulers.
+The men who governed the country were the body of white military
+slaves, who had been imported by Es-Sālih, and were renewed by
+purchase as death or assassination reduced their numbers.</p>
+
+<p>Before Es-Sālih’s death a certain number of his Mamlūks had
+risen from the ranks of common slaves to posts of honour at their
+master’s court; they had become cup-bearers, or tasters, or masters
+of the horse to his Majesty, and had been rewarded by
+enfranchisement; and these freed Mamlūks became in turn masters and
+owners of other Mamlūks. Thus, at the very beginning of Mamlūk
+history, we find a number of powerful <em>Amīrs</em> (or
+“commanders,” lords), who had risen from the ranks of the slaves
+and in turn become the owners of a large body of retainers, whom
+they led to battle, or by whose aid they aspired to ascend the
+throne. The only title to kingship among these nobles was personal
+prowess and the command of the largest number of adherents. In the
+absence of other influences the hereditary principle was no doubt
+adopted, and we find one family, that of Kalaūn, maintaining its
+succession to the throne for several generations, though not
+without brief interruptions. But as a rule the successor to the
+kingly power was the most powerful lord of the day, and his hold on
+the throne depended chiefly on<span class="pagenum" id=
+"Page_16">[16]</span> his strength of following, and his
+conciliation of the other nobles. The annals of Mamlūk dominion are
+full of instances of a great lord reducing the authority of the
+reigning Sultan to a shadow, and then stepping over his murdered
+body to the throne. Most of the Mamlūks died violent deaths at the
+hands of rival Amīrs, and the safety of the ruler of the time
+depended mainly upon the numbers and courage of his guard. This
+body-guard, or <em>halka</em>, enjoyed remarkable privileges, and
+was the object of continual solicitude on the part of the Sultan.
+As his own safety and power depended upon their fidelity, he was
+accustomed to bestow upon them grants of lands, rich dresses of
+honour, and unstinted largesse. A great part of the land of Egypt
+was held by the soldiers of the guard in feofs granted by the
+crown;<a id="FNanchor_4"></a><a href="#Footnote_4" class=
+"fnanchor">[4]</a> and the Amīrs who commanded them, nobles
+specially attached to the Sultan, and generally promoted from among
+his own Mamlūks, received handsome appanages. These soldiers of the
+guard numbered several thousand, and must have passed from Sultan
+to Sultan at every change of ruler; their colonels, or “Amīrs over
+a Thousand,” as they were called, became<span class="pagenum" id=
+"Page_17">[17]</span> important factors in the choice of rulers,
+and often deposed or set up a Sultan as seemed good to them. The
+Sultan, or chief Mamlūk, was in fact more or less, according to his
+character, at the mercy of the officers of his guard; and the
+principal check he possessed upon their ambition or discontent was
+found in their own mutual jealousies, which might be played upon so
+as to neutralize their opposition.</p>
+
+<p>Each of the great lords, or Amīrs, were he an officer of the
+guard, or a court official, or merely a private nobleman, was a
+Mamlūk Sultan in miniature. He too had his guard of Mamlūk slaves,
+who waited at his door to escort him in his rides abroad, were
+ready at his behest to attack the public baths and carry off the
+women, defended him when a rival lord besieged his palace, and
+followed him valiantly as he led the charge of his division on the
+field of battle. These great lords, with their retainers, were a
+constant menace to the reigning Sultan. A coalition would be formed
+among a certain number of disaffected nobles, with the support of
+some of the officers of the household and of the guard, and their
+retainers would mass in the approaches to the royal presence, while
+a trusted cup-bearer or other officer, whose duties permitted him
+access to the king’s person, would strike the fatal blow, and the
+conspirators would forthwith elect one of their number to succeed
+to the vacant throne. This was not effected without a struggle; the
+royal guard was not always to be bribed or overcome, and there were
+generally other nobles whose interests attached them to the
+reigning sovereign rather than to any possible successor, except
+themselves, and who would be sure to oppose the plot. Then there
+would be a street fight; the terrified people would close their
+shops, run to their houses, and shut the great gates which isolated
+the various quarters and markets of the city; and the rival
+factions of Mamlūks would ride through the streets that remained
+open, pillaging the houses of their adversaries, carrying off women
+and children, holding pitched battles in the roads, and
+discharging<span class="pagenum" id="Page_18">[18]</span> arrows
+and spears from the windows upon the enemy in the street below.
+These things were of constant occurrence, and the life of the
+merchant classes of Cairo must have been sufficiently exciting. We
+read how the great bazaar, called the Khān El-Khalīly, was
+sometimes shut up for a week while these contests were going on in
+the streets without, and the rich merchants of Cairo huddled
+trembling inside the stout gates.</p>
+
+<p>The contest over, and a new Sultan set on the throne, there
+remained the further difficulty of staying there. “J’y suis” was a
+much easier thing to say in Egypt than “j’y reste.” The same method
+that raised him to power might set him down again. An example,
+drawn from the annals of the thirteenth century, will show better
+than any generalizations, the uncertain tenure of power among the
+fickle military oligarchy of the Mamlūks. In 693 <span class=
+"sc2">A.H.</span>, or <span class="sc2">A.D.</span> 1293, En-Nāsir
+Mohammad was raised to the throne, which had been occupied by his
+father Kalaūn and his brother Khalīl. En-Nāsir was a mere child,
+nine years old, and the real authority devolved on his Vizīr (or
+“Viceroy,” <em>Nāib-es-Saltana</em>, as this minister was generally
+styled under the Mamlūks), by name Ketbugha. Naturally there were
+several other nobles who envied Ketbugha his position of influence
+and authority; and one of these, Shugay, taking the lead, offered
+armed resistance to the authority of the Viceroy. Ketbugha’s
+Mamlūks used to assemble at the gate of the Citadel to defend him
+in his progress through the city, and Shugay, with his retainers,
+would waylay the vice-regal <em>cortège</em> as it rode through the
+narrow streets, and bloody conflicts ensued. The gates of the city
+were kept closed, and the markets were deserted, until at length
+Shugay was captured, and his head was paraded on a pike through the
+streets of Cairo. But disaffection was not quelled by the slaughter
+of Shugay and his followers. There dwelt a body of 300 Mamlūks
+called Ashrafy<a id="FNanchor_5"></a><a href="#Footnote_5" class=
+"fnanchor">[5]</a> (after their master El-Ashraf Khalīl) in the
+quarter<span class="pagenum" id="Page_19">[19]</span> of Cairo
+called El-Kebsh, and these warriors, finding their occupation gone
+by the murder of their master, made an attempt to seize the
+sovereign power. They assembled and went to the royal stables at
+the foot of the Citadel, and thence to the armourers’ market,
+plundering and destroying on their way, and eventually they
+encamped at the gate of the Citadel, and laid siege to the
+fortress. Whereupon Ketbugha’s immediate supporters mounted their
+horses and rode down to meet them. The Ashrafīs were dispersed, and
+given over to various horrible tortures—blinded, maimed, drowned,
+beheaded, and hanged, or nailed to the city gate Zuweyla—and only a
+few were so far spared that they were allotted as slaves to their
+conquerors. Thus the rebellion was put down; but the next day, the
+Viceroy Ketbugha, calling a council of the great nobles of the
+Court, protested that such exhibitions were dishonourable to the
+kingly state, and that the dignity of Sultan would be irreparably
+compromised if a child like En-Nāsir were any longer suffered to
+occupy the<span class="pagenum" id="Page_20">[20]</span> throne.
+The child was therefore sent away to grow up, and Ketbugha, as a
+matter of course, assumed the sceptre of his ward. This was in
+1295, and in the end of 1296, on his return from a journey to
+Syria, the new Sultan had the misfortune to excite the latent
+jealousy of some of the powerful nobles who accompanied him: his
+tent was attacked; his guards and Mamlūks, by a devoted resistance,
+succeeded in enabling their master to fly, and the leader of the
+rebellion, Lāgīn, was forthwith chosen Sultan in his stead.</p>
+
+<p>Husām-ed-dīn Lāgīn, who now ascended the throne under the title
+of El-Mansūr, had originally been a slave of El-Mansūr ‘Aly son of
+Aybek (whence he was called El-Mansūry), and had then been bought
+for the trifling sum of about £30 by Kalaūn, under whom he rose
+from the grade of page to that of <em>silāhdār</em>, or
+armour-bearer; and Kalaūn, coming to the throne, gave him the rank
+of Amīr and made him governor of Damascus. Kalaūn’s son Khalīl, on
+succeeding to the sovereignty, cast Lāgīn into prison, and in
+return for this treatment Lāgīn assisted in his murder. During the
+brief reign of Ketbugha, he held the highest office in the land,
+that of Viceroy (<em>Nāib-es-Saltana</em>) and now he had turned
+against his latest lord, and had seized the crown for himself. The
+terms of his election throw an interesting light upon the
+precarious authority of the Mamlūk Sultans. His
+fellow-conspirators, after the flight of Ketbugha, marched at
+Lāgīn’s stirrup, hailed him Sultan, and payed him homage; but they
+exacted as a condition of their fealty that the new monarch should
+continue as one of themselves, do nothing without their advice, and
+never show undue favour towards his own Mamlūks. This he swore; but
+so suspicious were they of his good faith, that they made him swear
+it again, openly hinting that when he was once instated he would
+break his vow and favour his own followers, to the injury of the
+nobles who had raised him to the throne. When this had been
+satisfactorily arranged, Es-Sultān El-Melik El-Mansūr Husām-ed-dīn
+Lāgīn, “The Sultan,<span class="pagenum" id="Page_21">[21]</span>
+Victorious King, Sword-blade of the Faith, Lāgīn,” rode on to
+Cairo, attended by the insignia of sovereignty, with the royal
+parasol borne over his head by the great Lord Beysary; the prayers
+were said in his name in the mosques, drums were beaten in the
+towns he passed through; the nobles of Cairo came out to do him
+fealty; and, escorted by a crowd of lords and officers, he rode to
+the Citadel, displayed himself as Sultan to the people in the
+Hippodrome, and made his royal progress through the streets of the
+capital, from the Citadel to the Gate of Victory. The ‘Abbāsy
+Khalif of Egypt, a poor relic of the ancient house of Baghdād, rode
+at his side; and before them was carried the Khalif’s diploma of
+investiture, without which very nominal authority no Sultan in
+those days would have considered his coronation complete. The
+streets were decorated with precious silks and arms, and great was
+the popular rejoicing; for the benevolence and generosity of Lāgīn
+made him a favourite with the people, and he had already promised
+to remit the balance of the year’s taxes, and had even vowed that
+if he lived there should not be a single tax left. The price of
+food, which had risen to famine height during the late
+disturbances, now fell fifty per cent.; bread was cheap, and the
+Sultan was naturally adored.</p>
+
+<p>In spite of his share in a royal murder and a treacherous
+usurpation, this Mamlūk Sultan seems to have deserved the affection
+of his subjects. Not only did he relieve the people from much of
+the pressure of unjust and arbitrary taxation under which they had
+groaned, but he abstained, at least until he fell under the
+influence of another mind, from the tyrannical imprisonments and
+tortures by which the rule of the Mamlūks was too commonly secured.
+His conduct to his rivals was clement to a degree hardly paralleled
+among the princes of his time. He did not attempt to destroy the
+ex-Sultan Ketbugha, but gave him a small government in Syria by way
+of compensation. The child En-Nāsir had nothing to fear from Lāgīn,
+who invited him to return to Egypt, and told him that, as the
+Mamlūk of the boy’s father,<span class="pagenum" id=
+"Page_22">[22]</span> Kalaūn, he only regarded himself as his
+representative, holding the throne until En-Nāsir should be old
+enough to assume the government himself. Lāgīn was zealous in good
+works, gave alms largely in secret, and founded many charitable
+endowments. Among his services to art must be mentioned his
+restoration of the Mosque of Ibn-Tūlūn, at a cost of £10,000, to
+which he was impelled by the circumstance that he had found refuge
+in the then deserted building during the pursuit which followed the
+murder of Khalīl. Hidden in the neglected chambers and arcades of
+the old mosque, where so few worshippers repaired that but a single
+lamp was lighted before the niche at night, and the muëzzin cared
+to come no further than the threshold to chant the call to prayer,
+Lāgīn vowed that he would repay his preservation by repairing the
+mosque that had sheltered him; and it is interesting to know that
+the panels of the pulpit, which, with a cupola over the niche,
+formed the chief additions (beyond mere repairs) that Lāgīn made to
+the mosque, are now in the South Kensington Museum (<a href=
+"#i035">figs. 35-8.</a>) Such good deeds, and the magnanimous
+release of many prisoners, and not least, a bold foreign policy, as
+when he sent an army to capture towns on the distant borders of
+Armenia, could not fail to endear him to the populace; and when he
+was confined to the Citadel for two months with injuries resulting
+from a fall at polo, the rejoicings on his return to public life
+were genuine and universal. All the streets were decorated with
+silks and satins, the shops and windows were hired by sightseers,
+eager to catch a glimpse of the Sultan, and drums were beaten
+during his state progress through the capital. He celebrated the
+occasion by giving a number of robes of honour to the chief lords,
+freeing captives, and distributing alms to the poor. His private
+life commended him to the good Muhammadans of Cairo; for although
+in his youth he had been a wine-bibber, gambler, and given over to
+the chase, when he ascended the throne he became austere in his
+practice, fasted two months in the year besides Ramadān, affected
+the society of good pious kādis and<span class="pagenum" id=
+"Page_23">[23]</span> the like, was plain in his dress, as the
+Prophet ordains that a Muslim should be, and strict in enforcing
+simplicity among his followers. His ruddy complexion and blue eyes,
+together with a tall and imposing figure, indeed marked the
+foreigner, but his habits were orthodoxy itself; he bastinadoed
+drunkards, even if they were nobles; and his immoderate eating was
+not necessarily wicked.</p>
+
+<p>But Lāgīn, with all his virtues, had a weakness, too common
+among Mamlūk sovereigns; he was passionately attached to one of his
+retainers, named Mangūtīmūr, and by degrees suffered himself to be
+led by this favourite where his better judgment would never have
+allowed him to stray. Mangūtīmūr was neither a bad nor a
+contemptible man; but he was devoured by ambition and pride, and
+had no scruples when it was a question of removing an obstacle in
+his path to power. One of these was the great Lord Beysary, who had
+himself declined the crown, and who, when consulted by Lāgīn on the
+wisdom of making Mangūtīmūr his viceroy, reminded the Sultan of his
+vow when he was elected to the supreme power, and told him in blunt
+language that Mangūtīmūr was not worthy of the honour to which the
+Sultan destined him. The favourite, when he was made Viceroy after
+all, did not forget Beysary or his other detractors; some he
+banished, others were imprisoned and bastinadoed, and Beysary
+himself was placed in a sort of regal confinement, and there kept
+till his death. We shall hear more of Lord Beysary when we come to
+describe his perfume-burner in the chapter on metal-work, and it is
+enough to say here that he was too much devoted to the comforts and
+enjoyments of good living to care to trouble himself with the
+uneasiness which proverbially attends crowned heads. He was
+moreover an old man, and had been a notable and respected figure in
+Mamlūk court life for the past fifty years; his arrest was
+therefore the more wanton. Mangūtīmūr’s oppressions were not tamely
+endured by the Amīrs; but it was no light thing to risk the horrors
+of incarceration in the Citadel dungeon, a noisome pit, where foul
+and deadly exhalations, unclean vermin, and<span class="pagenum"
+id="Page_24">[24]</span> bats, rendered the pitchy darkness more
+horrible, and where for nearly half a century it was the practice
+to incarcerate refractory nobles, until, in 1329, En-Nāsir had the
+dreaded hole filled up. At length a combination was formed; Lāgīn
+was treacherously murdered as he was in the act of rising to say
+the evening prayers, and immediately afterwards Mangutīmur was
+entrapped. He was for the moment consigned to the pit under the
+Citadel, when the Amīr who had dealt the fatal stroke to Lāgīn
+arrived on the scene, and crying with a strident voice, “What had
+the Sultan done that I should kill him? By God, I never had aught
+but benefits from him; he brought me up, and gave me my steps of
+promotion. Had I known that when the Sultan was dead this
+Mangūtīmūr would still be living, I would never have done this
+murder, for it was Mangūtīmūr’s acts that led me to the deed.” So
+saying, he plunged into the dungeon, slew the hated favourite with
+his own hands, and delivered his house over to the soldiers to
+pillage.</p>
+
+<p>This sketch of a few years of Mamlūk history will serve to show
+the perils that surrounded the kingly state. It is a fair sample of
+the whole history, although now and again a sovereign would ascend
+the throne whose personal qualities or diplomatic talents succeeded
+in keeping the reins of government in his hands for a considerable
+period. The uncertainty of the tenure of power, and the general
+brevity of their reigns, (they average about five years and a
+half,) make it the more astonishing that they should have found
+time or leisure to promote the many noble works of architecture and
+engineering, which distinguish their rule above any other period of
+Egyptian history since the Christian Era. The Sultan’s office was
+indeed no sinecure, apart from the constant watchfulness needed to
+manage the refractory Mamlūks. Two days a week did Lāgīn devote to
+sitting in the Hall of Justice and hearing any complaints that his
+subjects might bring before him, in addition to those petitions
+which were constantly presented to him as he rode through the city.
+The correspondence of the empire, again,<span class="pagenum" id=
+"Page_25">[25]</span> was no light matter, and most of the Sultans
+took a personal share in drawing up the despatches. Beybars had
+established a well organized system of posts, connecting every part
+of his wide dominions with the capital. Relays of horses were in
+readiness at each posting-house, and twice a week the Sultan
+received and answered reports from all parts of the realm. Besides
+the ordinary mail, there was also a pigeon post, which was no less
+carefully arranged. The pigeons were kept in cots in the Citadel
+and at the various stages, which were further apart than those of
+the horses; the bird knew that it must stop at the first post-cot,
+where its letter would be attached to the wing of another pigeon
+for the next stage. The royal pigeons had a distinguishing mark,
+and when one of these arrived at the Citadel with a despatch, none
+was permitted to detach the parchment save the Sultan himself; and
+so stringent were the rules, that were he dining or sleeping or
+absorbed in polo, he would nevertheless at once be informed of the
+arrival, and would immediately proceed to disencumber the bird of
+its message. The correspondence conducted by these posts was often
+very considerable. Here is an example of the business-hours of the
+famous Sultan Beybars. He arrived before Tyre one night; a tent was
+immediately pitched by torchlight, the secretaries, seven in
+number, were summoned, with the commander-in-chief; and the
+adjutant-general (Amīr ‘Alam) with the military secretaries were
+instructed to draw up orders for drums and standards, &amp;c. For
+hours they ceased not to write letters and diplomas, to which the
+Sultan affixed his seal; this very night they indicted in his
+presence fifty-six diplomas for high nobles, each with its proper
+introduction of praise to God. One of Beybar’s letters has been
+preserved; it is a very characteristic epistle, and displays a grim
+and sarcastic appreciation of humour. Boemond, Prince of Antioch,
+was not present at the assault of that city by Beybars, and the
+Sultan kindly conveyed the information of the disaster in a
+personal despatch. He begins by ironically complimenting Boemond on
+his change of title, from<span class="pagenum" id=
+"Page_26">[26]</span> Prince to Count, in consequence of the fall
+of his capital, and then goes on to describe the siege and capture
+of Antioch. He spares his listener no detail of the horrors that
+ensued: “Hadst thou but seen thy knights trodden under the hoofs of
+the horses! thy palaces invaded by plunderers and ransacked for
+booty! thy treasures weighed out by the hundredweight! thy ladies
+bought and sold with thine own gear, at four for a dīnār! hadst
+thou but seen thy churches demolished, thy crosses sawn in sunder,
+thy garbled Gospels hawked about before the sun, the tombs of thy
+nobles cast to the ground; thy foe the Muslim treading thy Holy of
+Holies; the monk, the priest, the deacon, slaughtered on the altar;
+the rich given up to misery; princes of royal blood reduced to
+slavery! Couldst thou but have seen the flames devouring thy halls;
+thy dead cast into the fires temporal, with the fires eternal hard
+at hand! the churches of Paul and of Cosmas rocking and going
+down!—then wouldst thou have said, ‘Would God that I were dust!
+Would God that I never had this letter!’ . . . This letter holds
+happy tidings for thee: it tells thee that God watches over thee,
+to prolong thy days, inasmuch as in these latter days thou wert not
+in Antioch! Hadst thou been there, now wouldst thou be slain or a
+prisoner, wounded or disabled. A live man rejoiceth in his safety
+when he looketh on a field of slain. . . . As not a man hath
+escaped to tell thee the tale, we tell it thee; as no soul could
+apprise thee that thou art safe, while all the rest have perished,
+we apprise thee!” Nevertheless, Boemond was mightily incensed with
+the Sultan’s sarcastic attentions.<a id="FNanchor_6"></a><a href=
+"#Footnote_6" class="fnanchor">[6]</a></p>
+
+<p>Beybars was exceptionally active in the discharge of his royal
+functions, and was indefatigable in making personal inspections of
+the forts and defences of his empire. Once he left his camp
+secretly, and made a minute inspection of his kingdom in
+disguise,<span class="pagenum" id="Page_27">[27]</span> returning
+before his absence had been found out by his troops. He maintained
+12,000 soldiers under arms, of whom a third were stationed in
+Egypt, a third at Damascus, and the remaining third at Aleppo. On
+his expeditions he was escorted by 4000 horsemen. His history is a
+good example of the adventurous career of the Mamlūk. He was a
+native of Kipchak, between the Caspian and the Ural Mountains,—a
+tall, ruddy fellow, with blue eyes, one of which had a cataract on
+it, and this defect nearly lost him a purchaser in the
+slave-market: indeed, he only fetched 800 francs, a sum hardly
+equal to £20. He was afterwards bought by the Amīr ‘Alā-ed-dīn
+Aydekīn, El-Bundukdār, “the Arblasteer,” from whom Beybars took his
+title El-Bundukdāry, or “Bendocquedar,” as Marco Polo writes it.
+Subsequently he passed into the possession of Es-Sālih Ayyūb, and
+his strong, determined nature, his promptitude and resource in
+action, high mettle, and resonant voice, soon gained him the
+admiration and fear of his contemporaries. His charge at Mansūra
+won the day and annihilated the crusade of St. Louis, and in due
+course he made his way to the throne, through, we are sorry to add,
+the usual road of assassination. His was not a scrupulous nature,
+and his own death was caused by poison which he had prepared for
+another; but he was the first great Mamlūk Sultan, and the right
+man to lay the foundations of the empire. “Bondogar,” says William
+of Tripoli, “as a soldier was not inferior to Julius Caesar, nor in
+malignity to Nero;” but he allows that the Sultan was “sober,
+chaste, just to his own people, and even kind to his Christian
+subjects.”<a id="FNanchor_7"></a><a href="#Footnote_7" class=
+"fnanchor">[7]</a> So well did he organize his wide-stretching
+provinces that no incapacity or disunion among his successors could
+pull down the fabric he had raised, until the wave of Ottoman
+conquest swept at last upon Egypt and Syria. To him is due the
+constitution of the Mamlūk army, the rebuilding of a navy of 40
+war-galleys, the allotment of feofs to the lords and
+soldiers,<span class="pagenum" id="Page_28">[28]</span> the
+building of causeways and bridges, and digging of canals in various
+parts of Egypt. He strengthened the fortresses of Syria and
+garrisoned them with Mamlūks; he connected Damascus and Cairo by a
+postal service of four days, and used to play polo in both cities
+within the same week. His mosque still stands without the north
+gates, and his college till lately formed an important feature
+among the splendid monuments in the street known as “Betwixt the
+Palaces;” he founded an endowment for the burial of poor Muslims;
+in short, he was the best ruler Egypt had seen since the death of
+Saladin, whom he resembled in many respects, but not in chivalrous
+clemency. Some idea of the luxury and refinement of his court may
+be gathered from the list of his presents to the Persian Ilkhān
+Baraka, which included a Korān, said to have been transcribed by
+the Khalif ‘Othmān, enclosed in a case of red silk embroidered with
+gold, over which was a leather cover lined with striped silk; a
+throne encrusted with carved ivory and ebony; a silver chest;
+prayer-carpets of all colours and sorts; curtains, cushions, and
+tables; superb swords with silver hilts; instruments of music of
+painted wood; silver lamps and chandeliers; saddles from Khwārizm,
+bows from Damascus, with silk strings; pikes of Kana wood, with
+points tempered by the Arabs; exquisitely fashioned arrows in boxes
+plated with copper; large lamps of enamel with silver-gilt chains;
+black eunuchs, ingenious cook-girls, beautiful parrots; numbers of
+Arab horses, dromedaries, mules, wild asses, giraffes, and apes,
+with all kinds of saddles and trappings. Only remarkable qualities
+could have raised Beybars from the condition of a one-eyed slave to
+the founder of an empire that endured for nearly three
+centuries.</p>
+
+<p>In addition to necessary business, state ceremonies occupied no
+inconsiderable part of the Sultan’s time. The Mamlūk court was a
+minutely organized system, and the choice of officers to fill the
+numerous posts of the household, and the tact demanded in
+satisfying their jealousies and disagreements, to say
+nothing<span class="pagenum" id="Page_29">[29]</span> of the
+constant presentation of ceremonial dresses of honour, writing of
+diplomas, and granting of titles and appanages, must have been a
+tax upon their master. The posts about the royal person were no
+sinecures, and it needed no doubt some diplomacy to arrange the
+cabinet and household appointments to the satisfaction of
+everybody. The chief officers of the court, which of course
+included the administration, were these:—</p>
+
+<p>1. The <em>Nāib-es-Saltana</em>, or Viceroy, chief officer of
+the empire, corresponding to the Vizīr of other periods, who
+controlled alike the army, finances, posts, and appointments; rode
+at the head of the troops in state progresses, and was escorted by
+nobles to and from the Sultan’s presence. He was styled <em>Melik
+el-Umara</em>, or “King of Nobles,” and had a special palace
+(<em>Dār-en-Niāba</em>) in the Citadel, where all the functionaries
+of the state came to him for instructions.</p>
+
+<p>2. The <em>Atābek</em>, or <em>Atābek-el-asākir</em>,
+Commander-in-Chief, also styled (after the middle of the fourteenth
+century) <em>El-Amīr-el-Kebīr</em>, or “the Great Lord.”</p>
+
+<p>3. The <em>Ustaddar</em>, Majordomo, superintendent of the
+household, the kitchen, pages (<em>ujākīs</em>), and servants and
+officers generally; he had entire authority to obtain the supplies,
+money, and clothing for the royal household. By the time of Barkūk,
+<span class="sc2">A.D.</span> 1400, this official had so waxed in
+importance, that he had become practically Grand Vizīr, and enjoyed
+the management of the finances and the royal domains. His military
+rank—for all Mamlūks, though their posts might be purely civil, had
+military grades—was that of Bicenturion, or Major over 200. Under
+him were servants supplied from among the Lords of the Drums and
+Captains over Ten, and he had a legal assessor and
+<em>mubāshirs</em>, or superintendents, to assist him.</p>
+
+<p>4. The <em>Rās Nauba</em>, or Chief of the Guard, commanded the
+Sultan’s Mamlūks, and settled their differences. Another and
+superior <em>Rās Nauba</em> commanded the Lords and adjusted their
+quarrels, and the latter was not only addressed as “His<span class=
+"pagenum" id="Page_30">[30]</span> Excellency the Generous the
+Exalted,” <span class="arabic">الجناب العالى الكريم</span>, but the
+Sultan called him “Brother.”<a id="FNanchor_8"></a><a href=
+"#Footnote_8" class="fnanchor">[8]</a></p>
+
+<p>5, 6. The <em>Silāhdār</em>, Armour-bearer, carried the Sultan’s
+armour. There were several, and their chief was called <em>Amīr
+Silāh</em>, “Lord of the Arms,” who inspected the Armoury, was a
+centurion or Captain over 100, and was addressed by the Sultan as
+“Brother,” with the same style as the <em>Rās Naubat el-Umara</em>.
+The Lord of the Arms was one of the highest officers in the realm
+after the <em>Atābek Amīr el-Kebīr</em>.</p>
+
+<p>7. The <em>Amīr Akhōr</em>, Master of the Horse, presided over
+the royal stables, assisted by the <em>Selākhōry</em>, who saw to
+the horses’ food, and sometimes by a second <em>Amīr Akhōr</em>,
+who was a Captain over Ten; minor equerries superintended the
+colts, oxen, water-wheels, &amp;c., separately, but all were under
+the supreme control of the great Master of the Horse.</p>
+
+<p>8, 9. The <em>Sāky</em>, Cup-bearer, and the <em>Gāshenkīr</em>,
+Taster, whose duty it was to taste the Sultan’s food before it was
+served, to ward against poison, were officers of trust, and enjoyed
+frequent intercourse with the sovereign, and thus often carried
+great influence in the management of the empire. The
+<em>Gāshenkīr</em> was a Bicenturion.</p>
+
+<p>10. The <em>Hāgib</em>, Chamberlain, was the officer who guarded
+the access to the royal presence.</p>
+
+<p>11. <em>Amīr Gandār</em>, Equerry-in-waiting, introduced nobles
+to the presence, and commanded the <em>gandārs</em> or equerries,
+and <em>berd-dars</em>, grooms of the bedchamber; superintended the
+executions and tortures by order of the Sultan, and had charge of
+the <em>zardkhānāh</em>, or royal prison. He was chosen from the
+ranks of the Colonels (<em>mukaddam</em>) or Lords of the
+Drums.</p>
+
+<p>12. The <em>Dawādār</em>, or Secretary, took charge of the
+imperial<span class="pagenum" id="Page_31">[31]</span>
+correspondence, received and addressed despatches, was a Lord of
+the Drums, or a Captain over Ten, and enjoyed great influence and
+consideration.</p>
+
+<p>13. The <em>Kātim es-Sirr</em>, or Private Secretary, was the
+depository of the Sultan’s secret affairs, shared the
+correspondence with the <em>Dawādār</em>, was the first to go in to
+the sovereign and the last to come out, and was his chief adviser
+in all matters.</p>
+
+<p>Besides these great officers, there were many smaller posts,
+which often commanded great power and influence. The <em>Amīr
+Meglis</em>, Lord of the Seat, so called because he enjoyed the
+privilege of sitting in the Sultan’s presence, was the
+superintendent of the court physicians and surgeons; the
+<em>Gamdār</em>, or Master of the Wardrobe, was a high official;
+the <em>Amīr Shikār</em>, or Grand Huntsman, assisted the king in
+the chase; the <em>Amīr Tabar</em>, or Drum-Major, held almost the
+rank of the Chief of the Guard, and commanded the
+<em>Tabardārs</em> or Halbardiers of the Sultan, ten in number; the
+<em>Bashmakdār</em> carried the sovereign’s slippers; the
+<em>Gūkandār</em> bore the Sultan’s polo-stick, a staff of painted
+wood about four cubits long, with a curved head; the
+<em>Zimamdārs</em> were eunuch guards. The various household
+departments had also their officers, who were often great nobles,
+and men of influence in the realm. The <em>Ustaddār-es-Suhba</em>
+presided over the cookery; the <em>Tabl-khānāh</em>, or Drummery,
+was the department where the royal band was kept, and it was
+presided over by an officer called the <em>Amīr ‘Alam</em>, or
+adjutant-general. The Sultan’s band is stated at one time to have
+comprised four drums, forty kettle-drums (<span class=
+"arabic">كوسات</span>), four hautbois (<span class=
+"arabic">زمور</span>), and twenty trumpets (<span class=
+"arabic">نعير</span>). The permission to have a band was among the
+most coveted distinctions of Mamlūk times, and those Lords who were
+allowed to have a band playing before their gates were styled
+<em>Amīr Tabl-khānāh</em>, or Lord of the Drums; they were about
+thirty in number, and each had command of a body of forty horsemen,
+with a band of ten drums, two hautbois, and four trumpets, and an
+appanage of<span class="pagenum" id="Page_32">[32]</span> about the
+value of 30,000 dīnārs. The practice of employing these ceremonial
+bands went out with the Turkish conquest.</p>
+
+<p>Then there was the <em>Tisht-khānāh</em>, or Vestiary, where the
+royal robes, jewels, seals, swords, &amp;c., were kept, and where
+his clothes were washed. The servants of the <em>Tisht-khānāh</em>
+were called <em>tishtdārs</em>, or grooms of the wardrobe, and
+<em>rakhtwānīs</em>, or grooms of the chamber, under the command of
+two <em>mihtārs</em>, or superintendents. The
+<em>Sharāb-khānāh</em>, or Buttery, where were stored the liquors,
+sweetmeats, fruits, cordials, perfumes, and water for the
+sovereign, was also managed by two <em>mihtārs</em>, aided by a
+number of <em>sharāb-dārs</em>, or buttery-men; the
+<em>Hawāig-khānāh</em>, or Larder, where the food and vegetables
+required for the day were prepared, was under the superintendence
+of the <em>Hawāig-kāsh</em>. At the time of Ketbugha the daily
+amount of food prepared here was 20,000 pounds, and under En-Nāsīr
+the daily cost of the larder was from 21,000 to 30,000 francs. The
+<em>Rikāb-khānāh</em>, or Harness-room, and <em>Firāsh-khānāh</em>,
+or Lumber-room, had also their staff of officials. And besides the
+household and military officers, there were the various judicial
+officers, <em>Kādis</em> and the like, and the police authorities,
+to be appointed by the Sultan; such were the <em>Wāly</em>, or
+chief magistrate of Cairo, who kept order in the city, commanded
+the patrols, inspected the prisons, opened and shut the city gates,
+and was obliged always to sleep in Cairo; the <em>shādds</em> and
+<em>mushidds</em>, inspectors in their various departments, and the
+<em>muhtesib</em>, the important officer who corrected the weights
+and measures in the markets, and guarded public morals.</p>
+
+<p>It will be seen that court life was complicated even in the
+fourteenth century, and the state ceremonies of a Mamlūk Sultan
+must have involved as much etiquette as any modern levée, and
+presented a much more splendid spectacle. When the Sultan rode
+abroad in state, to hold a review or to make a progress through his
+dominions, the composition of his escort was elaborately ordered.
+The Sultan Beybars, for example, rode in the centre, dressed in a
+black silk <em>gubba</em>, or vest with large sleeves, but without
+embroidery<span class="pagenum" id="Page_33">[33]</span> or gold;
+on his head was a turban of fine silk, with a pendant hanging
+between his shoulders; and a Bedawy sword swung by his side, and a
+Dawūdy cuirass was concealed beneath his vest. In front, a great
+lord carried the <em>Ghāshia</em>, or royal saddle-cloth, emblem of
+sovereignty, covered with gold and precious stones; and over his
+head, a Prince of the Blood, or the Commander-in-chief, bore the
+state parasol, made of yellow silk, embroidered with gold, and
+crowned with a golden bird perched upon a golden cupola. The
+housing of his horse’s neck was yellow silk embroidered with gold,
+and a <em>zunnāry</em> or cloth of red atlas satin covered the
+crupper. The royal standard of silk and gold thread was borne
+aloft, and the troops had their regimental colours of yellow
+Cairene silk, embroidered with the escutcheons of their leaders.
+Just before the Sultan rode two pages on white horses, with rich
+trappings; their robes were of yellow silk with borders of gold
+brocade, and a kuffīya of the same: it was their duty to see that
+the road was sound. A flute-player went before, and a singer
+followed after, chanting the heroic deeds of former kings, to the
+accompaniment of a hand-drum; poets sang verses antiphonally,
+accompanying themselves with the kemenga and mōsil. Tabardārs
+carried halberts before and behind the Sultan, and the state
+poniards were supported by the polo-master (<em>gūkandār</em>) in a
+scabbard on the left, while another dagger with a buckler was
+carried on the monarch’s right. Close beside him rode the
+<em>Gamakdār</em>, or Mace-bearer, a tall, handsome man, who
+carried the gold-headed mace aloft, and never withdrew his eyes
+from the countenance of his master. The great officers of the court
+followed with little less pomp. When a halt was called for the
+night, on long journeys, torches were borne before the Sultan, and
+as he approached the tent, which had gone on in front and been
+pitched before his arrival, his servants came to meet him with wax
+candles in stands inlaid with gold; pages and halbardiers
+surrounded him, the soldiers sang a chorus, and all dismounted
+except the Sultan, who rode into the vestibule of the tent, where
+he left his<span class="pagenum" id="Page_34">[34]</span> horse,
+and then entered the great round pavilion behind it. Out of this
+opened a little wooden bed-room, warmer than the tent, and a bath
+with heating materials was at hand. The whole was surrounded by a
+wall, and the Mamlūks mounted guard in regular watches, inspected
+periodically by visiting rounds, with grand rounds twice in the
+night. The <em>Amīr Bābdār</em>, or Grand Door-keeper, commanded
+the grand rounds. Servants and eunuchs slept at the door.<a id=
+"FNanchor_9"></a><a href="#Footnote_9" class="fnanchor">[9]</a></p>
+
+<p>The historian of the Mamlūks is fond of telling how the Sultan
+made his progresses, held reviews of his troops, led a charge in
+battle, or joined in the games at home. The Mamlūks were ardent
+votaries of sport and athletic exercises. En-Nāsir was devoted to
+the chase, and imported numbers of sunkurs, sakrs, falcons, hawks,
+and other birds of prey, and would present valuable feofs to his
+falconers, who rode beside him hawk on wrist. Beybars was a keen
+archer, and a skilful hand at making arrows. He erected an
+archery-ground outside the Gate of Victory at Cairo, and here he
+would stay from noon till sunset, encouraging the Amīrs in their
+practice. The pursuit of archery became the chief occupation of the
+lords of his court. But Beybars, like most of the Mamlūks, was
+catholic in his tastes; he was fond of racing horses; spent two
+days in the week at polo; was famous<span class="pagenum" id=
+"Page_35">[35]</span> for his management of the lance in the
+tournaments which formed one of the amusements of the day; and was
+so good a swimmer, that he once swam across the Nile in his
+cuirass, dragging after him several great nobles seated on carpets.
+Such outward details of the life of the Mamlūks may be gathered
+from the pages of El-Makrīzy and other historians. But if we seek
+to know something of the domestic life of the period, we must go
+elsewhere than to these sources. We find indeed occasionally in
+El-Makrīzy an account of the revels of the court on great
+festivals, and he tells us how during some festivities in Beybars’
+reign there was a concert every night in the Citadel, where a torch
+was gently waved to and fro to keep the time. But to understand the
+home-life of the Mamlūks, we must turn to the <em>Thousand and One
+Nights</em>, where, whatever the origin and scene of the stories,
+the manners and customs are drawn from the society which the
+narrators saw about them in Cairo in the days of the Mamlūks. From
+the doings of the characters in that immortal story-book, we may
+form a nearly accurate idea of how the Mamlūks amused themselves;
+and the various articles of luxury that have come down to us, the
+goblets, incense-burners, bowls, and dishes of fine inlaid silver
+and gold, go to confirm the fidelity of the picture. The wonderful
+thing about this old Mohammadan society is that it was what it was
+in spite of Islām. With all their prayers and fasts and irritating
+ritual, the Muslims of the Middle Ages contrived to amuse
+themselves. Even in their religion they found opportunities for
+enjoyment. They made the most of the festivals of the Faith, and
+put on their best clothes; they made up parties—to visit the tombs,
+indeed, but to visit them right merrily on the backs of their
+asses;<a id="FNanchor_10"></a><a href="#Footnote_10" class=
+"fnanchor">[10]</a> they let their servants go out and amuse
+themselves too in the gaily illuminated streets, hung with silk and
+satin, and filled with dancers, jugglers, and revellers, fantastic
+figures, the Oriental<span class="pagenum" id="Page_36">[36]</span>
+Punch, and the Chinese Shadows; or they went to witness the
+thrilling and horrifying performances of the dervishes. There was
+excitement to be derived from the very creed; for did they not
+believe in those wonderful creatures the Ginn, who dwelt in the
+Mountains of Kāf, near the mysterious Sea of Darkness, where Khidr
+drank of the Fountain of Life? And who could tell when he might
+come across one of these awful beings, incarnate in the form of a
+jackal or a serpent; or meet, in his own hideous shape, the
+appalling Nesnās, who is a man split in two, with half a head, half
+a body, one arm and one leg, and yet hops along with astonishing
+agility, and is said, when caught, to have been found very sweet
+eating by the people of Hadramaut? To live among such fancies must
+have given a relish to life, even when one knew that one’s destiny
+was inscribed in the sutures of the skull, and in spite of those
+ascetic souls who found consolation in staring at a blank wall
+until they saw the name of Allah blazing on it.</p>
+
+<p>What society was like at the time of the first Mamlūks may be
+gathered very clearly from the poems<a id=
+"FNanchor_11"></a><a href="#Footnote_11" class="fnanchor">[11]</a>
+of Behā-ed-dīn Zuheyr, the secretary of Es-Sālih Ayyūb, who
+survived his master and died in 1258. The Egyptians of his
+acquaintance, as reflected in his graceful verse, seem to have
+resembled our own latter-day friends in their pleasures and
+passions. Love is the great theme of Zuheyr as well as Swinburne;
+the poet waxes eloquent over a long succession of mistresses,
+blonde and brown, constant and fickle, kind and coy,—</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">“Like the line of beauty her waving
+curl,</div>
+
+<div class="line indent0">&nbsp;Her stature like the lance.”</div>
+</div>
+</div>
+</div>
+
+<p class="nind">We read of stolen interviews, in despite of parents
+and guardians, maidens “waiting at the tryst alone,” and various
+other breaches of Mohammadan morals. If Zuheyr fairly represented
+his<span class="pagenum" id="Page_37">[37]</span> time, life at
+Cairo in the thirteenth century was not without its savour:—</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">Well! the night of youth is over, and
+grey-headed morn is near;</div>
+
+<div class="line indent0">Fare ye well, ye tender meetings with the
+friends I held so dear!</div>
+
+<div class="line indent0">O’er my life these silvery locks are
+shedding an unwonted light,</div>
+
+<div class="line indent0">And revealing many follies youth had
+hidden out of sight.</div>
+
+<div class="line indent0">Yet though age is stealing o’er me, still
+I love the festive throng,</div>
+
+<div class="line indent0">Still I love a pleasant fellow, and a
+pleasant merry song;</div>
+
+<div class="line indent0">Still I love the ancient tryst, though
+the trysting time is o’er,</div>
+
+<div class="line indent0">And the tender maid that ne’er may yield
+to my caresses more;</div>
+
+<div class="line indent0">Still I love the sparkling wine-cup,
+which the saucy maidens fill, &amp;c.</div>
+</div>
+</div>
+</div>
+
+<p class="nind">The wine-cup plays a prominent part in Zuheyr’s
+catalogue of the joys of life, and he is full of contempt for the
+prudent mentor who reproved him:—</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">Let us, friends, carouse and revel,</div>
+
+<div class="line indent0">And send the mentor to the devil!</div>
+</div>
+</div>
+</div>
+
+<p>The great indoor amusement of the mediaeval Muslim was feasting.
+The Arabs indeed never understood scientific gastronomy; they
+coarsely drank to get drunk, and ate to get full. We read of a
+public banquet (under the Fātimīs, but probably equalled many a
+time in the Mamlūk period), where the table was covered with 21
+enormous dishes, each containing 21 baked sheep, three years old
+and fat, and 350 pigeons and fowls, all piled up together to the
+height of a man, and covered in with dried sweetmeats. Between
+these dishes were 500 smaller ones, each holding seven fowls and
+the usual complement of confectionery. The table was strewn with
+flowers and cakes of bread, and two grand edifices of sweetmeats
+each weighing 17 cwt., were brought in on shoulder-poles. On such
+occasions a man might eat a sheep or two without being remarkable.
+But if he ate somewhat heartily, he did not omit to wash it down
+afterwards with plenty of wine, despite all the ordinances of the
+Prophet. If the bowls that have descended to us were drinking-cups,
+the Mamlūk thought very little of a pint stoup. Like our own Norse
+and Saxon ancestors, he loved his wassail, and took it right
+jovially, until he found himself under the table, or
+would<span class="pagenum" id="Page_38">[38]</span> have done so
+had there been any tables of the right sort. Zuheyr sings:—</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">Here, take it, ’tis empty! and fill it
+again</div>
+
+<div class="line indent1">With wine that’s grown old in the
+wood;</div>
+
+<div class="line indent0">That in its proprietor’s cellars has
+lain</div>
+
+<div class="line indent0">So long that at least it goes back to the
+reign</div>
+
+<div class="line indent1">Of the famous Nushirwan the Good—</div>
+</div>
+
+<div class="group">
+<div class="line indent0">With wine which the jovial friars of
+old</div>
+
+<div class="line indent1">Have carefully laid up in store,</div>
+
+<div class="line indent0">In readiness there for their feast-days
+to hold—</div>
+
+<div class="line indent0">With liquor, of which if a man were but
+<em>told</em>,</div>
+
+<div class="line indent1">He’d roll away drunk from the door!</div>
+</div>
+</div>
+</div>
+
+<p>Many of the Mamlūk Sultans are described as being addicted to
+wine, and the great Lord Beysary was at one time stated to be
+incapable of taking part in affairs, because he was entirely given
+over to drink and hazard. Yet there are redeeming points in this
+sottishness. The Muslims of the days of good Harūn, and not less of
+the other “golden prime” of Beybars and Barkūk, did not take their
+wine moodily or in solitude. They loved to have a jovial company
+round them, and plenty of flowers and sweet scents on the board;
+they scented their beards with civet, and sprinkled their beautiful
+robes with rose-water, while ambergris and frankincense, burned in
+the censers we still possess, diffused a delicious perfume through
+the room. Nor was the feast complete without music and the voices
+of singing women. A ravishing slave-girl, with a form like the
+waving willow, and a face as resplendent as the moon, sang soft,
+sad Arabian melodies to the accompaniment of the lute, till the
+guests rolled over in ecstasy. Other and less refined performances,
+the alluring gestures of the dancing-girls, the coarse feats of
+Punch or the hired buffoon, also enlivened the evening; and the
+ladies of the Harīm would share the pleasures of the men, separated
+by a lattice screen, or hidden behind gorgeously embroidered
+curtains. We shall see presently what palaces the Mamlūks built for
+themselves, how they hung them with rich stuffs, and strewed them
+with costly carpets; what wealth of carving and ivory-work
+embellished<span class="pagenum" id="Page_39">[39]</span> their
+doors and ceilings; how gloriously inlaid were their drinking and
+washing vessels, how softly rich the colouring of their stained
+windows. The Mamlūks offer the most singular contrasts of any
+series of princes in the world. A band of lawless adventurers,
+slaves in origin, butchers by choice, turbulent, bloodthirsty, and
+too often treacherous, these slave kings had a keen appreciation
+for the arts which would have done credit to the most civilized
+ruler that ever sat on a constitutional throne. Their morals were
+indifferent, their conduct was violent and unscrupulous, yet they
+show in their buildings, their decoration, their dress, and their
+furniture, a taste which it would be hard to parallel in Western
+countries even in the present age of enlightenment. It is one of
+the most singular facts in Eastern history, that wherever these
+rude Tartars penetrated, there they inspired a fresh and vivid
+enthusiasm for art. It was the Tartar Ibn-Tūlūn who built the first
+example of the true Saracenic mosque at Cairo; it was the line of
+Mamlūk Sultans, all Turkish or Circassian slaves, who filled Cairo
+with the most beautiful and abundant monuments that any city can
+show. The arts were in Egypt long before the Tartars became her
+rulers, but they stirred them into new life, and made the Saracenic
+work of Egypt the centre and head-piece of Mohammadan art.</p>
+
+<p class="space-above15">The following tables will supply the
+necessary chronological details and the chief events and monuments
+of each reign. It should be noticed that a certain stability and
+duration of authority was necessary even among the Mamlūks to allow
+opportunity for artistic effort. The great monuments now standing
+of the Mamlūk Sultans are grouped about 9 Sultans: 4 of the Bahrīs,
+and 5 of the Burgīs. But the reigns of these 9 Sultans amounted
+together to two-thirds of the whole period occupied by the 49
+Mamlūk rulers. The reigns of Beybars I. (18 years), Kalaūn (11),
+En-Nāsir (42), and Sultan Hasan (11); of Barkūk (16), El-Muayyad
+(9), El-Ashraf Bars Bey (17), Kaït Bey (28), and El-Ghūry
+(16),<span class="pagenum" id="Page_40">[40]</span> make a total of
+168 years, out of 266, leaving but 98 years for the remaining 40
+Sultans. The great Mamlūk builders had thus an average reign of
+nearly 19 years, while those who have left no signal monuments
+average only 2½ years. Beybars Jāshenkīr, however, is perhaps an
+exception; for he has left a beautiful mosque and many
+restorations, yet he ruled as Sultan for but a single year.</p>
+
+<hr class="decor width12">
+
+<h3 class="xlarge">THE SARACEN RULERS OF EGYPT.</h3>
+
+<hr class="decor width6">
+
+<p class="center">A.H. 21-926 = A.D. 641-1517.</p>
+
+<hr class="decor width6">
+
+<table class="borders" id="t040">
+<colgroup>
+<col>
+<col>
+<col class="width15">
+<col class="width2">
+<col class="width8">
+<col>
+</colgroup>
+
+<tr>
+<td colspan="6" class="tdc large sect1">I.—GOVERNORS APPOINTED BY
+THE KHALIFS.</td>
+</tr>
+
+<tr>
+<th>A.H.</th>
+<th>A.D.</th>
+<th colspan="3">Ruler.</th>
+<th>Events and existing Monuments.</th>
+</tr>
+
+<tr>
+<td rowspan="3" class="tdr-top">21<br>
+to<br>
+254</td>
+<td rowspan="3" class="tdr-top">641<br>
+to<br>
+868</td>
+<td rowspan="3" colspan="3" class="tdl-top hang1">The list of 98
+Governors, to whom no distinctive work of art can be ascribed, is
+omitted. (Cp. Wüstenfeld, <em>Die Statthalter d. Egyptens unter den
+Khalifen</em>.)</td>
+<td class="tdl-top hang1">Conquest of Egypt completed, 21
+<span class="sc2">A.H</span>.</td>
+</tr>
+
+<tr>
+<td class="tdl-top hang1"><em>Mosque of ‘Amr</em>, 21 <span class=
+"sc2">A.H</span>., but frequently restored.</td>
+</tr>
+
+<tr>
+<td class="tdl-top hang1">City of El-Fusṭāṭ, <span class=
+"sc2">A.H</span>. 21, and suburb of El-‘Askar, <span class=
+"sc2">A.H</span>. 133.</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc large sect1">II.—HOUSE OF ṬŪLŪN.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">254</td>
+<td class="tdr-top">868</td>
+<td colspan="3" class="tdl-top hang1">Aḥmad ibn Ṭūlūn</td>
+<td class="tdl-top hang1">Suburb of El-Ḳaṭāi‘, 256.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Mosque of Ibn-Ṭūlūn</em>, 263-5.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Annexation of Syria as far as Aleppo,
+264.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">270</td>
+<td class="tdr-top">883</td>
+<td colspan="3" class="tdl-top hang1">Khumāraweyh (son of
+Aḥmad)</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">282</td>
+<td class="tdr-top">895</td>
+<td class="tdl-top hang1 bdless-right">Geysh Abu-l-Asākir</td>
+<td rowspan="2" class="bdless-right"><span class=
+"br-large">}</span>
+</td>
+<td rowspan="2" class="tdl">(sons of Khumāraweyh)</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">283</td>
+<td class="tdr-top">896</td>
+<td class="tdl-top hang1 bdless-right">Hārūn</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">292</td>
+<td class="tdr-top">904</td>
+<td colspan="3" class="tdl-top hang1">Sheybān (son of Aḥmad)</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc large sect1">III.—SECOND LINE OF
+GOVERNORS.</td>
+</tr>
+
+<tr>
+<td rowspan="2" class="tdr-top">292<br>
+to<br>
+323</td>
+<td rowspan="2" class="tdr-top">905<br>
+to<br>
+934</td>
+<td rowspan="2" class="tdl bdless-right"><span class=
+"br-large">}</span> Thirteen Governors.</td>
+<td rowspan="2" class="bdless-right"><span class=
+"br-large">{</span>
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Partial burning of El-Ḳaṭāi‘, 292.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="tdl-top hang1">Invasion of Egypt by El-Mahdy the Fātimy,
+307.</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc large sect1"><span class="pagenum" id=
+"Page_41">[41]</span>IV.—HOUSE OF IKHSHĪD.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">323</td>
+<td class="tdr-top">934</td>
+<td colspan="3" class="tdl-top hang1">Moḥammad El-Ikhshīd ibn
+Ṭukǵ</td>
+<td rowspan="3" class="tdl-top hang1 bd-left">Syria again annexed.
+The kings of this dynasty were buried at Damascus, and have
+therefore left no tomb-mosques in Egypt.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">334</td>
+<td class="tdr-top">946</td>
+<td colspan="3" class="tdl-top hang1">Abu-l-Ḳāsim Ūngūr (son of
+El-Ikhshīd)</td>
+</tr>
+
+<tr>
+<td class="tdr-top">349</td>
+<td class="tdr-top">960</td>
+<td colspan="3" class="tdl-top hang1">Abu-l-Ḥasan ‘Aly (son of
+El-Ikhshīd)</td>
+</tr>
+
+<tr>
+<td class="tdr-top">355</td>
+<td class="tdr-top">966</td>
+<td colspan="3" class="tdl-top hang1">Abu-l-Misk Kāfūr, a
+Eunuch</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">357<br>
+to<br>
+358</td>
+<td class="tdr-top">968<br>
+to<br>
+969</td>
+<td colspan="3" class="tdl-top hang1">Abu-l-Fawāris Aḥmad (son of
+‘Aly)</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc large sect1">V.—FĀṬIMY KHALIFS.</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc sect2">A.—<span class="sc">In
+Tunis</span>.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">297</td>
+<td class="tdr-top">909</td>
+<td colspan="3" class="tdl-top hang1">El-Mahdy ‘Obeyd-Allah</td>
+<td class="tdl-top hang1">Invades Egypt, 307.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">322</td>
+<td class="tdr-top">934</td>
+<td colspan="3" class="tdl-top hang1">El-Ḳāïm Moḥammad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">334</td>
+<td class="tdr-top">945</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Ismā‘īl</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">341</td>
+<td class="tdr-top">952</td>
+<td colspan="3" class="tdl-top hang1">El-Mu‘izz Ma‘add</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc sect2">B.—<span class="sc">In
+Egypt</span>.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">358</td>
+<td class="tdr-top">969</td>
+<td colspan="3" class="tdl-top pad2 word-spaced14">„ „</td>
+<td class="tdl-top hang1">Conquest of Egypt, 358. Syria and part of
+Arabia annexed.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Foundation of El-Ḳāhira (Cairo).</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Mosque El-Azhar</em>, 359-61.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Invasions of the Ḳarmatis.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">365</td>
+<td class="tdr-top">975</td>
+<td colspan="3" class="tdl-top hang1">El-‘Azīz Nizār</td>
+<td class="tdl-top hang1">Conversion of the Azhar into a
+University.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Mosque of El-Ḥākim</em>, 380.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">386</td>
+<td class="tdr-top">996</td>
+<td colspan="3" class="tdl-top hang1">El-Ḥākim El-Manṣūr</td>
+<td class="tdl-top hang1">Founder of the Druse sect.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Mosque of El-Ḥākim completed</em>,
+403.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">411</td>
+<td class="tdr-top">1020</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir ‘Aly</td>
+<td class="tdl-top hang1">Loss of Aleppo.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">427</td>
+<td class="tdr-top">1035</td>
+<td colspan="3" class="tdl-top hang1">El-Mustanṣir Ma‘add</td>
+<td class="tdl-top hang1">Great famine, 7 years long, which caused
+the desertion and decay of El-Fusṭāṭ and other parts of the
+capital.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Restoration of Mosque of ‘Amr</em>,
+441-2.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>The 3 great Gates and 2nd wall of
+Cairo built.</em>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Usurpation of Nāṣir-ed-dawleh,
+462-5.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">487</td>
+<td class="tdr-top">1094</td>
+<td colspan="3" class="tdl-top hang1">El-Musta‘ly Aḥmad</td>
+<td class="tdl-top hang1">First Crusade; loss of Jerusalem.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">495</td>
+<td class="tdr-top">1101</td>
+<td colspan="3" class="tdl-top hang1">El-Āmir El-Manṣūr</td>
+<td class="tdl-top hang1">Further losses in Syria.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">524</td>
+<td class="tdr-top">1130</td>
+<td colspan="3" class="tdl-top hang1">El-Ḥāfiḍh ‘Abd-el-Megīd</td>
+<td class="tdl-top hang1">Nūr-ed dīn ibn Zenky makes himself master
+of Aleppo and Damascus.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">544</td>
+<td class="tdr-top">1149</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāfir Ismā‘īl</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">549</td>
+<td class="tdr-top">1154</td>
+<td colspan="3" class="tdl-top hang1">El-Fāïz ‘Īsā</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td rowspan="2" class="tdr-top"><span class="pagenum" id=
+"Page_42">[42]</span>555<br>
+to<br>
+567</td>
+<td rowspan="2" class="tdr-top">1160<br>
+to<br>
+1171</td>
+<td colspan="3" class="tdl-top hang1">El-‘Āḍid ‘Abd-Allah</td>
+<td class="tdl-top hang1">Nūr-ed-dīn’s expeditions to Egypt, 559,
+561.</td>
+</tr>
+
+<tr>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Saladin in Egypt, 561.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Burning of El-Fusṭāṭ, 564, for fifty
+days, to save its falling into the hands of Amaury, Christian King
+of Jerusalem.</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc large sect1">VI.—HOUSE OF AYYŪB.</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc sect2">(<span class="sc">Egyptian
+Branch</span>.)</td>
+</tr>
+
+<tr>
+<td class="tdr-top">567</td>
+<td class="tdr-top">1172</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Salāh-ed-dīn
+[Saladin] Yūsuf ibn Ayyūb</td>
+<td class="tdl-top hang1">From 567-9 owns homage to Nūr-ed-dīn</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Annexation of Syria, 570. Crusades.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Citadel and 3rd Wall of Cairo.</em>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Restoration of Mosque of ‘Amr.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">589</td>
+<td class="tdr-top">1193</td>
+<td colspan="3" class="tdl-top hang1">El-‘Azīz ‘Imād-ed-dīn
+‘Othmān</td>
+<td class="tdl-top hang1">Resists 4th Crusade. Syria
+separated.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">595</td>
+<td class="tdr-top">1198</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Moḥammad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">596</td>
+<td class="tdr-top">1199</td>
+<td colspan="3" class="tdl-top hang1">El-‘Ādil Seyf-ed-dīn Abu-Bekr
+ibn Ayyūb</td>
+<td class="tdl-top hang1">Reannexes Syria.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">615</td>
+<td class="tdr-top">1218</td>
+<td colspan="3" class="tdl-top hang1">El-Kāmil Moḥammad</td>
+<td class="tdl-top hang1">Defeat of Jean de Brienne.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Tomb of Esh-Shāfi‘y</em>, 608.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Jerusalem ceded to Frederick II.,
+626.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">635</td>
+<td class="tdr-top">1238</td>
+<td colspan="3" class="tdl-top hang1">El-‘Ādil Seyf-ed-dīn Abu-Bekr
+II.</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">637</td>
+<td class="tdr-top">1240</td>
+<td colspan="3" class="tdl-top hang1">Eṣ-Ṣāliḥ Negm-ed-dīn
+Ayyūb</td>
+<td class="tdl-top hang1">Jerusalem recaptured. Crusade of St.
+Louis.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>College Eṣ-Ṣālihīya</em>, 641.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Castle of Er-Rōda.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">647</td>
+<td class="tdr-top">1249</td>
+<td colspan="3" class="tdl-top hang1">El-Mu‘aḍhḍham Tūrān Shāh</td>
+<td class="tdl-top hang1">Defeat and capture of St. Louis at
+Manṣūra, 647.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Tomb Mosque of Eṣ-Ṣāliḥ</em>,
+647.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">648<br>
+to<br>
+650</td>
+<td class="tdr-top">1250<br>
+to<br>
+1252</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Mūsā (nominally
+joint king with the Mamlūk Sultān Aybek)</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc large sect1">VII.—THE MAMLŪK
+SULTĀNS.</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc sect2">A. —<span class="sc">Baḥry or
+Turkish Line</span>.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">648</td>
+<td class="tdr-top">1250</td>
+<td colspan="3" class="tdl-top hang1">Queen Sheger-ed-durr</td>
+<td class="tdl-top hang1">Syria separated.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">648</td>
+<td class="tdr-top">1250</td>
+<td colspan="3" class="tdl-top hang1">El-Mu‘izz ‘Izz-ed dīn
+Aybek</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">655</td>
+<td class="tdr-top">1257</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Nūr-ed-dīn
+‘Aly</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">657</td>
+<td class="tdr-top">1259</td>
+<td colspan="3" class="tdl-top hang1">El-Muḍhaffar Seyf-ed-dīn
+Ḳuṭuz</td>
+<td class="tdl-top hang1">War with Hūlāgū the Mongol.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Syria annexed. Antioch taken.</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><span class="pagenum" id=
+"Page_43">[43]</span>658</td>
+<td class="tdr-top">1260</td>
+<td colspan="3" class="tdl-top hang1">Eḍh Ḍhāhir Rukn-ed-dīn
+Beybars I.</td>
+<td class="tdl-top hang1">Campaigns against the Mongols and
+Christians.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Mosque of Eḍh-Ḍhāhir</em>,
+665-7.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Collegiate Mosque Eḍh-Ḍhāhirīya</em>,
+660.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">676</td>
+<td class="tdr-top">1277</td>
+<td colspan="3" class="tdl-top hang1">Es-Sa‘īd Nāṣir-ed dīn Baraka
+Khān</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">678</td>
+<td class="tdr-top">1279</td>
+<td colspan="3" class="tdl-top hang1">El-‘Ādil Bedr-ed-dīn
+Selāmish</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">678</td>
+<td class="tdr-top">1279</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Seyf-ed-dīn
+Ḳalāūn</td>
+<td class="tdl-top hang1"><em>Mosque of Ḳalāūn, Māristān or
+Hospital</em>, 683.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Campaign in Syria; sack of Tripoli.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">689</td>
+<td class="tdr-top">1290</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Ṣalāḥ-ed-dīn
+Khalīl</td>
+<td class="tdl-top hang1">Capture of Acre, 690.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">693</td>
+<td class="tdr-top">1293</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Nāṣir-ed dīn
+Moḥammad. <em>1st reign</em></td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">694</td>
+<td class="tdr-top">1294</td>
+<td colspan="3" class="tdl-top hang1">El-‘Ādil Zeyn-ed-dīn
+Ketbughā</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">696</td>
+<td class="tdr-top">1296</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Ḥusām-ed-dīn
+Lāgīn</td>
+<td class="tdl-top hang1"><em>Restoration of Mosque of
+Ibn-Ṭūlūn.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">698</td>
+<td class="tdr-top">1299</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Moḥammad. <em>2nd
+reign</em></td>
+<td class="tdl-top hang1">Defeat of Mongols in Syria.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Collegiate Mosque En-Nāṣiriya</em>,
+698-703.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">708</td>
+<td class="tdr-top">1309</td>
+<td colspan="3" class="tdl-top hang1">El-Muḍhaffar Rukn-ed-dīn
+Beybars II.</td>
+<td class="tdl-top hang1"><em>Monastic Mosque of Beybars</em>,
+706.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">709</td>
+<td class="tdr-top">1310</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Moḥammad. <em>3rd
+reign</em></td>
+<td class="tdl-top hang1"><em>Mosque of En-Nāṣir in citadel</em>,
+718.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Persecutions of Christians and
+destruction of churches.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Mosques of the Amīrs Kūṣūn</em>, 730;
+<em>El-Māridāny</em>, 738-40; <em>Singar El-Gāwaly and Salār</em>,
+723 ff.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">741</td>
+<td class="tdr-top">1341</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Seyf-ed-dīn
+Abū-Bekr</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">742</td>
+<td class="tdr-top">1341</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf ‘Alā-ed-dīn
+Ḳūgūḳ</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">742</td>
+<td class="tdr-top">1342</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Shihāb-ed-dīn
+Aḥmad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">743</td>
+<td class="tdr-top">1342</td>
+<td colspan="3" class="tdl-top hang1">Eṣ-Ṣāliḥ ‘Imād-ed-dīn
+Ismā‘īl</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">746</td>
+<td class="tdr-top">1345</td>
+<td colspan="3" class="tdl-top hang1">El-Kāmil Seyf-ed-dīn
+Sha‘bān</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">747</td>
+<td class="tdr-top">1346</td>
+<td colspan="3" class="tdl-top hang1">El-Muḍhaffar Seyf-ed-dīn
+Ḥāggy</td>
+<td class="tdl-top hang1"><em>Mosque of the Amīr Aḳsunḳur</em>,
+747-8.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">748</td>
+<td class="tdr-top">1347</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Nāṣir-ed-dīn Ḥasan.
+<em>1st reign</em></td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">752</td>
+<td class="tdr-top">1351</td>
+<td colspan="3" class="tdl-top hang1">Eṣ-Ṣāliḥ Ṣalāḥ ed-dīn
+Ṣāliḥ</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">755</td>
+<td class="tdr-top">1354</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Ḥasan. <em>2nd
+reign</em></td>
+<td class="tdl-top hang1"><em>Mosque of Sulṭān Ḥasan</em>,
+757-60.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Mosques of the Amīrs Sheykhū</em>,
+756, and <em>Suyurghatmish</em>, 757.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">762</td>
+<td class="tdr-top">1361</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Ṣalāḥ-ed-dīn
+Moḥammad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">764</td>
+<td class="tdr-top">1363</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Nāṣir-ed-dīn
+Sha‘bān</td>
+<td class="tdl-top hang1"><em>Mosque of Umm-Sha‘bān.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">778</td>
+<td class="tdr-top">1377</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr ‘Alā-ed-dīn
+‘Aly</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">783<br>
+to<br>
+792</td>
+<td class="tdr-top">1381<br>
+to<br>
+1390</td>
+<td colspan="3" class="tdl-top hang1">Eṣ-Ṣāliḥ Ṣalāḥ-ed-dīn Ḥāggy
+deposed by Barḳūḳ 784/1382, but restored, 791, with new title of
+El-Manṣūr Ḥāggy, and finally deposed by Barḳūḳ, 792.</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="6" class="tdc sect2"><span class="pagenum" id=
+"Page_44">[44]</span>B.—<span class="sc">Burgy or Circassian
+Line</span>.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">784</td>
+<td class="tdr-top">1382</td>
+<td rowspan="3" colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir
+Seyf-ed-dīn Barḳūḳ (interrupted by Ḥāggy, 791-2)</td>
+<td class="tdl-top hang1"><em>Tomb Mosque of Barḳūḳ.</em>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Collegiate Mosque Barḳūḳīya</em>,
+786.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">War with Tīmūr (Tamerlane).</td>
+</tr>
+
+<tr>
+<td class="tdr-top">801</td>
+<td class="tdr-top">1399</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Nāṣir-ed-dīn Farag.
+<em>1st reign</em></td>
+<td class="tdl-top hang1">Peace concluded with Tīmūr.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">808</td>
+<td class="tdr-top">1405</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr ‘Izz-ed-dīn
+‘Abd-el-‘Azīz</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">809</td>
+<td class="tdr-top">1406</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Farag. <em>2nd
+reign</em></td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">815</td>
+<td class="tdr-top">1412</td>
+<td colspan="3" class="tdl-top hang1">El-‘Ādīl El-Musta‘īn (the
+Khalif)</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">815</td>
+<td class="tdr-top">1412</td>
+<td colspan="3" class="tdl-top hang1">El-Mu‘ayyad Sheykh</td>
+<td class="tdl-top hang1"><em>Mosque of El-Mu‘ayyad</em>,
+818-23.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Campaigns in Syria.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">824</td>
+<td class="tdr-top">1421</td>
+<td colspan="3" class="tdl-top hang1">El-Muḍhaffar Aḥmad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">824</td>
+<td class="tdr-top">1421</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir Seyf-ed-dīn
+Ṭaṭār</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">824</td>
+<td class="tdr-top">1421</td>
+<td colspan="3" class="tdl-top hang1">Eṣ-Ṣāliḥ Nāṣir-ed-dīn
+Moḥammad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">825</td>
+<td class="tdr-top">1422</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Seyf-ed-dīn Bars
+Bey</td>
+<td class="tdl-top hang1"><em>Collegiate Mosque El-Ashrafīya</em>,
+827.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Tomb Mosque of Bars Bey.</em>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Expedition against John, King of Cyprus,
+827.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">842</td>
+<td class="tdr-top">1438</td>
+<td colspan="3" class="tdl-top hang1">El-‘Azīz Jemāl-ed-dīn
+Yūsuf</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">842</td>
+<td class="tdr-top">1438</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir Seyf-ed-dīn
+Gaḳmaḳ</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">857</td>
+<td class="tdr-top">1453</td>
+<td colspan="3" class="tdl-top hang1">El-Manṣūr Fakhr-ed-dīn
+‘Othmān</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">857</td>
+<td class="tdr-top">1453</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Seyf-ed-dīn
+Īnāl</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">865</td>
+<td class="tdr-top">1461</td>
+<td colspan="3" class="tdl-top hang1">El-Mu‘ayyad Shihāb-ed-dīn
+Aḥmad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">865</td>
+<td class="tdr-top">1461</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir Seyf-ed-dīn
+Khōshḳadam</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">872</td>
+<td class="tdr-top">1467</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir Seyf-ed-dīn
+Bilbāy</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">872</td>
+<td class="tdr-top">1467</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir Temerbughā</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">873</td>
+<td class="tdr-top">1468</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Seyf-ed-dīn Ḳāït
+Bey</td>
+<td class="tdl-top hang1"><em>Mosque of Ḳāït Bey (intra
+muros).</em>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Tomb Mosque of Ḳāït Bey.</em>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1"><em>Wekāla of Ḳāït Bey.</em>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">War with the Ottoman Turks, who were
+repeatedly defeated.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">901</td>
+<td class="tdr-top">1496</td>
+<td colspan="3" class="tdl-top hang1">En-Nāṣir Moḥammad</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">904</td>
+<td class="tdr-top">1498</td>
+<td colspan="3" class="tdl-top hang1">Eḍh-Ḍhāhir Ḳānṣūh</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">905</td>
+<td class="tdr-top">1500</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Gānbalāṭ</td>
+<td class="tdl-top hang1"><em>Mosque of the Amīr Ezbek</em>,
+905.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">906</td>
+<td class="tdr-top">1501</td>
+<td colspan="3" class="tdl-top hang1">El-Ādil Tūmān Bey</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">906</td>
+<td class="tdr-top">1501</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Ḳānṣūh
+El-Ghòry</td>
+<td class="tdl-top hang1"><em>Mosque and Tomb Mosque Ghōrīya</em>,
+909.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Battle of Marg-Dābik, and defeat of
+Mamlūks by Selīm I.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="bdless-right">
+</td>
+<td class="bdless-right">
+</td>
+<td>
+</td>
+<td class="tdl-top hang1">Invasion of Egypt.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">922</td>
+<td class="tdr-top">1516</td>
+<td colspan="3" class="tdl-top hang1">El-Ashraf Tūmān Bey</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">922</td>
+<td class="tdr-top">1516</td>
+<td colspan="4" class="tdl-top hang1">Egypt annexed by the Ottoman
+Sultān Selīm.</td>
+</tr>
+</table>
+
+<h3 class="xlarge"><span class="pagenum" id=
+"Page_45">[45]</span>GENEALOGICAL TREES OF THE FAMILIES REIGNING IN
+EGYPT.</h3>
+
+<hr class="decor width3">
+
+<h4>HOUSE OF ṬŪLŪN.</h4>
+
+<table class="tree tree2 treesize1" id="t045a">
+<tr>
+<td colspan="6" class="tdc">1. Aḥmad ibn Ṭūlūn</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td class="bline">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td>
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td colspan="4" class="tdc">2. Khumāraweyh</td>
+<td colspan="2" class="tdc">5. Sheybān</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">3. Geysh</td>
+<td colspan="2" class="tdc">4. Hārūn.</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+</table>
+
+<hr class="decor width3">
+
+<h4>HOUSE OF IKHSHĪD.</h4>
+
+<table class="tree tree1 treesize1" id="t045b">
+<tr>
+<td colspan="4" class="tdc">1. Moḥammad El-Ikhshīd</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">2. Abu-l-Ḳāsim</td>
+<td colspan="2" class="tdc">3. ‘Aly</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">5. Aḥmad</td>
+</tr>
+</table>
+
+<hr class="decor width3">
+
+<h4>FĀṬIMY KHALIFS.</h4>
+
+<table class="tree tree1 treesize1" id="t045c">
+<tr>
+<td colspan="4" class="tdc">4. El-Mu‘izz</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="4" class="tdc">5. El-‘Azīz</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="4" class="tdc">6. El-Ḥākim</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="4" class="tdc">7. Eḍh-Ḍhahir</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="4" class="tdc">8. El-Mustanṣir</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdl pad-right1"><span class=
+"word-spaced03">&nbsp;</span>9. El-Musta‘ly</td>
+<td colspan="2" class="tdl pad1"><span class=
+"word-spaced03">&nbsp;&nbsp;</span>Moḥammad</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdl pad-right1">10. El-Āmir</td>
+<td colspan="2" class="tdl pad1">11. El-Ḥāfiḍh</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdl pad1">12. Eḍh-Ḍhāfir</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdl pad1">13. El-Fāïz</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdl pad1">14. El-‘Āḍid.</td>
+</tr>
+</table>
+
+<h4><span class="pagenum" id="Page_46">[46]</span>HOUSE OF
+AYYŪB.</h4>
+
+<table class="tree tree2 treesize2" id="t046a">
+<tr>
+<td colspan="6" class="tdc">Ayyūb.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="bline">
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td>
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">1. Ṣalāḥ-ed-dīn [Saladin] Yūsuf.</td>
+<td colspan="4" class="tdc">4. El-‘Ādil Abū-Bekr.</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">2. El-‘Azīz ‘Othmān.</td>
+<td colspan="4" class="tdc">5. El-Kāmil Moḥammad.</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">3. El-Manṣūr Moḥammad.</td>
+<td colspan="2" class="tdc">6. El-‘Ādil II.</td>
+<td colspan="2" class="tdc">7. Eṣ-Ṣāliḥ Ayyūb.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">8. El-Mu‘aḍhḍham Tūrān Shāh.</td>
+</tr>
+</table>
+
+<h4>BAḤRY MAMLŪKS.</h4>
+
+<p class="center">(A <em>dotted</em> line denotes the relation of
+master and slave.)</p>
+
+<table class="tree treesize3" id="t046b">
+<tr>
+<td colspan="24" class="tdc">Eṣ-Ṣāliḥ Ayyūb. (See above.)</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr class="height15">
+<td class="dottedliner">
+</td>
+<td class="dottedblt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="dottedbrt">
+</td>
+<td class="dottedblt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="dottedbrt">
+</td>
+<td class="dottedblt">
+</td>
+<td class="dottedbrt">
+</td>
+<td class="dottedblt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="dottedbrt">
+</td>
+<td class="dottedlinel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc-top">1. Shejer-ed-durr<br>
+(Queen).</td>
+<td colspan="2" class="tdc-top">=</td>
+<td colspan="2" class="tdc-top">2. Eybek</td>
+<td colspan="2" class="tdc-top">=</td>
+<td colspan="2" class="tdl-top pad1"><em>x</em>.</td>
+<td colspan="2" class="tdc-top">4. Ḳuṭuz.</td>
+<td colspan="2" class="tdc-top">5. Beybars.</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="dottedliner">
+</td>
+<td class="dottedlinel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="dottedliner">
+</td>
+<td class="dottedlinel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="dottedliner">
+</td>
+<td class="dottedlinel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="6" class="tdc">3. ‘Aly.</td>
+<td colspan="2" class="tdc">6. Baraka.</td>
+<td colspan="2" class="tdc">7. Selāmish.</td>
+<td colspan="2" class="tdc">Daughter</td>
+<td colspan="2" class="tdc">=</td>
+<td colspan="2" class="tdc">8. Ḳalāūn.</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td class="bline">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr class="height15">
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td class="dottedbrt">
+</td>
+<td class="dottedblt">
+</td>
+<td class="dottedbrt">
+</td>
+<td class="dottedblt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="dottedbrt">
+</td>
+<td class="dottedlinel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">9. Khalīl.</td>
+<td colspan="2" class="tdc">10. En-Nāṣir.</td>
+<td colspan="2" class="tdc">11. Ketbughā.</td>
+<td colspan="2" class="tdc">12. Lāgīn.</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">13. Beybars II.</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">14. Abū-Bekr.</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">15. Ḳūgūḳ.</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">16. Aḥmad.</td>
+<td colspan="2" class="tdc">17. Ismā‘īl.</td>
+<td colspan="2" class="tdc">18. Sha‘bān.</td>
+<td colspan="2" class="tdc">19. Ḥāggy.</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">20. Ḥasan.</td>
+<td colspan="2" class="tdc">21. Ṣāliḥ.</td>
+<td colspan="2" class="tdc">Hoseyn.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">22. Moḥammad.</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">23. Sha‘bān II.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="bline">
+</td>
+<td class="brb">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="2" class="tdc">24. ‘Aly.</td>
+<td colspan="2" class="tdc">25. Ḥāggy II.</td>
+</tr>
+</table>
+
+<p>The Burgy Mamlūks present some instances of a son succeeding his
+father, but as a rule the Sultans of this second line bore no blood
+relation to one another.</p>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_47">[47]</span><a id=
+"c02"></a>CHAPTER II.</h2>
+
+<p class="sch1">ARCHITECTURE.</p>
+
+<p class="nind"><span class="sc">The</span> arts of the Saracens
+are for the most part intimately connected with their buildings;
+they are chiefly employed for the decoration of their mosques and
+houses. Of the examples of Saracenic art that have come down to us,
+the large majority form part of the ornament and furniture of
+mosques, or, in a less proportion, of private dwellings. Thus
+wood-work mainly consists of carved panels from the doors of
+mosques, pulpits, ceilings, and the panelled doors and lattice
+windows of houses; the mosaics and marble ornament, no less than
+the stone carvings, are chiefly derived from the walls of mosques
+and other buildings. The finest ivory is found in the doors of
+Mohammadan pulpits and the screens of Coptic churches; glass is
+represented by mosque lamps and perforated stained windows; pottery
+is mainly displayed in the form of tiles on the walls of mosques
+and houses; and of existing textiles, the most important, though
+not native to Egypt, are the prayer carpets. The only branch of art
+industry that does not more or less share in this intimate
+connection with a building is the metal work, which includes many
+small objects which have no stated position, but might be placed
+anywhere without violating their natural intention; and even
+metal-work in Cairo is best seen in the embossed bronze doors of
+the mosques. As a whole, it may be said that the art of mediaeval
+Egypt was centred in the beautifying of its mosques and palaces,
+and that in most departments of artistic labour there is a certain
+architectural<span class="pagenum" id="Page_48">[48]</span>
+relation which shows that the various objects were elaborated with
+a direct eye to their effect when in the mosque or house. Of
+course, it does not follow that because the extant examples of
+Saracenic art in the middle ages are chiefly of this decorative
+character, there was no art of a less obviously relative nature.
+The artists who carved the wood and ivory of the mosques must have
+employed their skill on other things as well. But the sanctity of
+the mosques has procured for them a measure of respect which has
+preserved much of their decoration comparatively perfect to the
+present century, and a similar protection was not to be expected in
+the case of mere portable articles of furniture which could be
+burnt and broken and melted with no imputation of sacrilege.
+Objects of art which form part of buildings, whether sacred or not,
+stand a far better chance of survival than movable things, and this
+is, no doubt, to a large degree the cause of the one-sidedness of
+Cairene art as we now study it. Another cause is the simplicity of
+the Mohammadan idea of furniture. A Muslim grandee had much fewer
+modes of gratifying his artistic tastes than an English nobleman.
+The law of his Prophet, in the first place, forbade luxury,
+prohibited gold and silver ornaments, rich silks, and sumptuous
+apparel; it was impious to paint or chisel the image of man or any
+animate creature; and if a prince were not strongly under the
+influence of his religion, yet the general custom of his
+countrymen, and the conservatism of the East, would restrain him
+from eccentric innovations in the embellishment of his palace.
+Divans offered little scope for the artist; their frames, if not
+constructed of ordinary masonry, were made of palm sticks, or an
+unornamented framework of wood; the coverings alone could be
+sumptuous. A little low round table formed almost the sole piece of
+movable furniture in the room; there were no chairs for the
+Egyptian Chippendale to exercise his fancy upon; no bureaux,
+sideboards, book-cases, mirrors, mantel-shelves, or other pieces of
+decorative furniture, to be carved or inlaid; the little
+dining-table, or, rather, stool, with<span class="pagenum" id=
+"Page_49">[49]</span> its round tray instead of a cloth, permitted
+no array of fine glass and silver, though the few dishes that could
+be ranged upon it were often of very exquisite workmanship, and
+inlaid with the precious metals. Thus it happened that in the house
+as in the mosque the chief skill of the artist was expended upon
+the decoration of the structure, by mosaics and tiles on the wall,
+painting the ceiling, panelling and carving the doors and
+cupboards, and designing the stained windows.</p>
+
+<p>No examination of the industrial arts of Egypt, therefore, would
+be intelligent which did not start from a clear comprehension of
+the characteristics of the buildings round which they were grouped.
+In a work of the present scope it is of course impossible to
+attempt a history of Saracenic architecture, even in its Cairene
+development; such a task is worthy of the best endeavours of an
+architect, and would demand a volume to itself. It will be
+sufficient for the present purpose if the principal buildings of
+Cairo are briefly described in general classes, the chief
+distinctions of style and plan noticed, and a clear conception
+offered of what mosques and houses are like. For this purpose it
+will not be necessary to take many examples. A large number of the
+300 mosques that still remain in various stages of preservation in
+that city offer no elements of originality, and not a few are
+modern and unworthy of study, except by those who would carry the
+history of an art down to its lowest stage of decadence. In houses
+we have unfortunately but a small choice to select from. Most of
+the noble palaces of the Mamlūk lords have long ago fallen to ruin,
+and there are now probably very few that can be called
+representative of the great period of Saracenic architecture.
+Still, while the palaces, for the most part, have passed away,
+there are here and there smaller houses of remarkable beauty, which
+preserve some of the best features of the true Cairo style.</p>
+
+<div class="figcenter">
+<figure id="i002" class="iw3"><a href=
+"images/fig002_large.jpg"><img src='images/fig002.jpg' alt=''></a>
+<p class="cp1">FIG. 2.—EAST COLONNADE OF THE MOSQUE OF ‘AMR.</p>
+</figure>
+</div>
+
+<p>The first idea of a mosque was extremely simple. The Prophet’s
+mosque at Medīna consisted of a small square enclosure of brick,
+partly roofed over with wooden planks, supported on pillars
+made<span class="pagenum" id="Page_51">[51]</span> of palm stems
+plastered over. All that was needed was retirement from passing
+scenes, and shade from the sun’s rays. It was not necessary that
+the whole of the square court forming the mosque should be roofed
+in, for the number of worshippers who remained for any length of
+time in the mosque would be small, and, for the brief periods
+occupied by the ordinary prayers, the open court could be used if
+the roofed portions did not afford space enough. The same principle
+was observed in the plans of the early mosques of Egypt. An open
+court for occasional use, and roofed cloisters for the regular
+congregation, were the essentials; and in the older<span class=
+"pagenum" id="Page_52">[52]</span> mosques in and around Cairo we
+find this plan carried out by a spacious open court surrounded on
+the four sides by covered colonnades or cloisters. The mosque of
+‘Amr at Fustāt (or Old Cairo) has been so repeatedly restored that
+it is not safe to draw conclusions from its details; but it is
+certainly as old as the 10th century in its main outline, which
+consists of an immense court surrounded by covered colonnades
+(<a href="#i002">fig. 2</a>). The mosque of Ibn-Tūlūn, which
+preserves, for the most part untouched, its original form and
+ornament as completed in the year 265 of the Hijra (<span class=
+"sc2">A.D.</span> 878), consists also of a vast open court
+surrounded by arcades or cloisters, which differ considerably in
+the details from the colonnades of ‘Amr’s mosque, but show the same
+general plan. The mosque of the Fātimy Khalif El-Hākim, finished in
+1012, resembles that of Ibn-Tūlūn in plan and many of the details,
+and the Azhar, though frequently restored, preserves its original
+colonnaded court of 971. The mosque of Edh-Dhāhir Beybars, to the
+north of Cairo (1268), and that of En-Nāsir Mohammad in the Citadel
+(1318), are also of the arcade plan, resembling Ibn-Tūlūn, and the
+same form was adopted by Kūsūn (1329), El-Māridāny (1339), and
+Aksunkur (1347), for their mosques in the first half of the 14th
+century, by Barkūk at the end of the same century for his
+tomb-mosque in the eastern cemetery of Cairo, and by El-Muayyad for
+his mosque (1420) in the Ghōrīya, now in course of restoration.</p>
+
+<div class="figcenter">
+<figure id="i003" class="iw6"><a href="images/fig003.jpg"><img src=
+'images/fig003.jpg' alt=''></a>
+<p class="cp1">FIG. 3.—PLAN OF THE MOSQUE OF ‘AMR.</p>
+</figure>
+</div>
+
+<p>The plan of an open court surrounded by colonnades is, as will
+be readily recognised, simply a survival of the ancient Semitic
+temple, as we see it in Phoenician and other ruins, and also in the
+porticos surrounding the Ka‘ba at Mekka. The Arabs naturally
+adopted the form most familiar to them, and also best suited to the
+climate, and to the religious rites to be performed. This plan is
+universal in Egypt from the 9th to the 13th century, so far as
+extant buildings permit us to judge. From the 13th century the
+older plan shared the favour of the Cairene architects with a new
+form, which was, however, rather a development<span class="pagenum"
+id="Page_53">[53]</span> of the former than a new departure. As
+space became more valuable in Cairo, and as architectural skill
+improved, and the art of spanning wide intervals by great arches
+became better understood, the cruciform mosque was naturally
+developed out of the old columnar or cloistered court. Instead of
+surrounding a spacious court with shallow arcades, a smaller court
+was enclosed by four deep recesses or transepts, each of which was
+covered by a single large arch; the plan thus resembles roughly a
+cross, of which the centre was formed by the open court, and the
+arms by the four covered recesses. A reason for this arrangement is
+perhaps to be found in the four sects into which the Mohammadans of
+Egypt were divided: for some of the cruciform mosques have
+inscriptions which show that a separate transept was allotted to
+Mālikis, the Hanafīs, the Shāfi‘is, and the Hanbalīs. This plan
+seems to have been introduced into Cairo by the Ayyūby Sultans of
+the family of Saladin. The earliest examples are the buildings of
+El-Kāmil Mohammad, Saladin’s nephew, whose collegiate mosque in the
+street known as Beyn-el-Kasreyn, or “Betwixt-the-Palaces,” was
+erected in the year 1224. Two sides of this building were standing
+in 1845 when Mr. Wild made some sketches of the ornament, which he
+described as more like the Alhambra than anything he had seen in
+Cairo. The most famous extant specimen of the cruciform mosque is
+that of Sultan Hasan, built in 1356-9, where the arches opening
+into the transepts are of magnificent dimensions. Barkūk’s medresa
+or collegiate mosque in the Beyn-el-Kasreyn, 1384, and the two
+mosques of Kāït Bey, one in the city, the other and more celebrated
+in the eastern burial-ground, one of the most beautiful monuments
+of Cairo (1472), also belong to the cruciform order, as does that
+of El-Ghōry (1503), besides many less important mosques.</p>
+
+<p>The standard example of the <em>cloistered mosque</em> is that
+of Ibn-Tūlūn, the bold and massive style of which recalls our own
+Norman architecture. This is the oldest mosque of Cairo, or
+rather<span class="pagenum" id="Page_54">[54]</span> of the quarter
+called El-Katāi‘, or “the Wards,” which was the residence of the
+princes of the dynasty of Tūlūn, when Cairo was not yet founded. It
+occupies a space of about four hundred feet. The exterior is very
+plain, as is always the case with cloistered mosques. A high wall
+surrounds it on three sides, leaving a space of some fifty feet
+vacant between the wall and the mosque itself. The outer courts
+thus formed, in close resemblance to the plan of the Egyptian
+temple (as seen, for example, at Edfu), were intended to isolate
+the worshippers in the mosque from the noises of the street
+without. The front or east side is shut off from the street by
+houses and various apartments; and washrooms and other chambers for
+the mosque attendants or for worshippers block up part of the
+western outer court. The walls of the mosque have no ornament,
+except a crenellated or embattled parapet. Originally the mosque
+was entered by two doors in each of the three outer courts; the
+doors are simple and without any of the elaboration of later
+mosques.</p>
+
+<p>Passing through the inner partition wall we find ourselves in a
+cloister or arcade looking into a magnificent court ninety-nine
+yards square (<a href="#i003">fig. 3</a>), in the centre of which
+is a square stone building surmounted by a brick dome, which was
+built, however, a century later than the mosque itself, in the
+place of the original marble fountain covered by a painted dome
+resting on marble pillars. This vast court is surrounded on all
+four sides by arcades of pointed arches resting on piers of
+plastered brick. It is related that Ahmad Ibn-Tūlūn intended to
+have 300 columns for his mosque, but when he was informed that this
+would involve the destruction or dismemberment of numerous churches
+throughout the land of Egypt—for the Muslims took their pillars
+from Roman and Greek buildings—he abandoned the project. His chief
+architect, a Copt<a id="FNanchor_12"></a><a href="#Footnote_12"
+class="fnanchor">[12]</a>, whose religious sympathies may have had
+something to do with Ibn-Tūlūn’s clemency towards the
+Christian<span class="pagenum" id="Page_56">[56]</span> churches,
+then undertook to build a mosque without columns, save two at the
+niche which marked the direction of Mekka; and when he had drawn
+his design on parchment, and shown it to the prince, it was
+approved, and he was given a dress of honour, and furnished with
+100,000 gold pieces, or about £60,000 to build the mosque. He began
+the work in <span class="sc2">A.H.</span> 263, and completed it in
+265 (878), when he received a fee of 10,000 pieces of gold.<a id=
+"FNanchor_13"></a><a href="#Footnote_13" class="fnanchor">[13]</a>
+It is clear from this account, which is derived from the historian
+El-Makrīzy, that the mosque of Ibn-Tūlūn was the first experiment
+in brick piers instead of stone columns. Three sides have two rows
+of arches; the fourth, that which lies on the side towards Mekka,
+has five.<a id="FNanchor_14"></a><a href="#Footnote_14" class=
+"fnanchor">[14]</a></p>
+
+<div class="figcenter">
+<figure id="i004" class="iw2"><a href=
+"images/fig004_large.jpg"><img src='images/fig004.jpg' alt=''></a>
+<p class="cp1">FIG. 4.—MOSQUE OF IBN-TULUN.</p>
+</figure>
+</div>
+
+<p>All the rows of arches run parallel to the sides of the court,
+so that standing in the latter you look through the arches. The
+arches are all pointed (<a href="#i005">fig. 5</a>), and constitute
+the first example of the universal employment of pointed arches
+throughout a building, three hundred years before the adoption of
+the pointed style in England. They have a very slight tendency to a
+return at the spring of the arch, but cannot be said to approach
+the true horse-shoe form. They rest on heavy piers of brick, the
+four corners of which are shaped in the form of engaged columns,
+with no bases, and only very simple rounded capitals, coated, like
+the rest of the building, with plaster, on which a rudimentary bud
+and flower pattern is moulded. The spaces between the arches are
+partly filled by windows with similar engaged columns and pointed
+arches. On either side of each window, in the face fronting the
+court, is a rosette moulded in the plaster, and a band of similar
+rosettes runs all round the court above the<span class="pagenum"
+id="Page_57">[57]</span> arches, over which is the embattled
+parapet. The faces of the arcades in the interior are somewhat
+differently treated. Round the arches and windows runs a knop and
+flower pattern, which also runs across from spring to spring of
+arch beneath the windows, and a band of the same ornament runs all
+along above the arches, in place of the rosettes, which only occur
+in the face fronting the court; over this band, and likewise
+running along the whole length of all the inner arcades, is a
+Kūfy<a id="FNanchor_15"></a><a href="#Footnote_15" class=
+"fnanchor">[15]</a> inscription carved in wood, and above this the
+usual crenellated parapet. The arcades are roofed over with
+sycamore planks resting on heavy beams. In the rearmost arcade the
+back wall is pierced with pointed windows, which are filled, not
+with coloured glass, but with grilles of stone, forming geometrical
+designs, with central rosettes or stars; but it is not quite
+certain that these belong to the original mosque; they may have
+been introduced in one of the restorations which are known to have
+been made. To whatever period they belong, they may compare
+favourably in variety and beauty of design with any Gothic tracery
+in existence. With the exception of these grilles, the central
+fountain, and the two marble columns by the niche in the east end,
+the entire mosque is built with burnt brick, plastered on both
+sides.<a id="FNanchor_16"></a><a href="#Footnote_16" class=
+"fnanchor">[16]</a></p>
+
+<p>The Mekka side, which is the <em>līwān</em> or sanctuary, and
+specially the place of prayer, is deeper, as has been said,
+consisting of five arcades instead of two, and the arches fronting
+the court are<span class="pagenum" id="Page_58">[58]</span> filled
+almost to the height of the piers by wooden screens or partitions,
+which rail off the sanctuary from the court. It is ornamented in
+the same manner as the other arcades, except that the back wall,
+which in the other sides is plain, save for the grilled windows, in
+the east end was once carefully decorated, though at present little
+remains of the original mosaic and colour which El-Makrīzy says
+were used for its embellishment.</p>
+
+<p>The essential parts of the east end of a mosque are the
+<em>mihrāb</em> or niche indicating the <em>kibla</em> or direction
+of Mekka, the <em>mimbar</em> or pulpit for the Friday sermon, and
+the <em>dikka</em> or tribune, a raised platform from which the
+Korān is recited and the prayers intoned by the imām or choragus.
+The niche is generally an arched recess in the centre of the east
+wall, richly inlaid with mosaics of marbles and mother-of-pearl,
+and often bordered with Arabic inscriptions. The niche of Ibn-Tūlūn
+is adorned with marbles of different colours. Very often the whole
+of the east wall is covered with ornament; dados of mosaic, friezes
+of inscriptions, panels of marble and tiles, are arranged with
+exquisite taste over the whole surface, broken only by the stained
+glass windows which form so beautiful a feature in the later
+mosques.</p>
+
+<p>At each end of the sanctuary of Ibn-Tūlūn is a small minaret,
+and there is also a great stone minaret, in the west outer court,
+which has the unique peculiarity of an external winding staircase
+(<a href="#i004">fig. 4</a>), reminding one of the traditional
+tower of Babel of the children’s picture books. This is, however,
+quite phenomenal, and the ordinary minaret, which forms the most
+beautiful external feature of the Cairo mosques, if not, as
+Fergusson says, “the most graceful form of tower architecture in
+the world,” has an internal winding staircase, and consists of a
+slender tower, constructed in several stories, which generally
+diminish in size and shape, from a substantial square at the base,
+through graduated octagons, to a cylinder or a group of dwarf
+columns at the top, on which is a small cupola
+surmounted<span class="pagenum" id="Page_60">[60]</span> by a
+knotted pinnacle and crescent, with several wooden staffs fixed at
+angles to the round of the cupola, from which lamps are suspended
+on the great festivals. Two or three galleries project at various
+heights, supported by stalactite corbels and cornices, and from
+these the muezzin proclaims the call to prayer five times a day. It
+is recorded by El-Makrīzy that the first stone minaret in Cairo was
+that of the mosque of El-Māridāny, built by the Master Suyūfy—all
+the earlier ones being of brick.<a id="FNanchor_17"></a><a href=
+"#Footnote_17" class="fnanchor">[17]</a> A very beautiful example
+of a minaret is seen in the engraving of the mosque of Kāït Bey
+(<a href="#i001">frontispiece</a>). Sometimes the cupola at the top
+is fluted, as in a very pretty little minaret in the southern
+burial-ground of Cairo, which tapers upwards from the square by a
+series of diminishing octagons till the transition to the round can
+be gently effected. The transitions are ingeniously managed by
+those stalactite or pendentive ornaments, which are the peculiar
+property of the Saracenic architect, and are freely used to mask
+angles and to modulate such transitions as those in the dome and
+minaret. In describing the minaret we are, however, anticipating
+the true chronological order, for the earlier mosques do not
+present many of the graceful details which we see in that of Kāït
+Bey. The great minaret of Ibn-Tūlūn indeed diminishes by stages,
+but there are no stalactites in any part of this mosque, except
+over the <em>mihrāb</em>, or niche, and these are probably a later
+addition.</p>
+
+<div class="figcenter">
+<figure id="i005"><a href="images/fig005_large.jpg"><img src=
+'images/fig005.jpg' alt='' class="iw5"></a>
+<p class="cp1">FIG. 5.—ARCADES IN THE MOSQUE OF IBN-TULUN.</p>
+
+<p class="cp2">Ninth Century.</p>
+</figure>
+</div>
+
+<p>Nothing has been said so far about the dome, and for this
+reason, that the mosque of Ibn-Tūlūn has none. It is a mistake to
+suppose that the dome is an essential feature of a mosque. The
+minaret is essential, because there must be a raised tower from
+which the <em>Adān</em> or Call to Prayer may resound over the
+city, though even this was dispensed with in the Prophet’s own
+mosque at Medīna, where the Muezzin Bilāl of the
+stentorian<span class="pagenum" id="Page_61">[61]</span> voice
+shouted the call from the gate. A dome, however, has nothing
+whatever to do with prayer, and therefore nothing with a mosque. It
+is simply the roof of a tomb, and only exists where there is a tomb
+to be covered, or at least where it was intended that a tomb should
+be. Only when there is a chapel attached to a mosque, containing
+the tomb of the founder or his family, is there a dome, and it is
+no more closely connected with the mosque itself than is the grave
+it covers: neither is necessary to the place of prayer. It happens,
+however, that a large number of the mosques of Cairo are
+mausoleums, containing chambers with the tomb of the founder, and
+the profusion of domes to be seen, when one looks down upon the
+city from the battlements of the Citadel, has brought about the not
+unnatural mistake of thinking that every mosque must have a dome.
+Most mosques with tombs have domes, but no mosque that was not
+intended to contain a tomb ever had one in the true sense. The
+origin of the dome may be traced to the cupolas which surmount the
+graves of Babylonia, many of which must have been familiar to the
+Arabs, who preserved the essentially sepulchral character of the
+form, and never used it, as did the Copts and Byzantines, to say
+nothing of European architects, to roof a church or its apse. The
+form of the true Cairo dome is not quite the same as that of Italy
+and St. Paul’s; like most Saracenic designs it is based upon simple
+geometrical proportions. To draw the outline of the ordinary type
+(<a href="#i006">fig. 6</a>), to which, however, there are
+exceptions, describe a circle <span class="sc2">A</span>, draw
+tangents <span class="sc2">B B</span>, to the length of
+three-fourths of the radius, join the extremities, and from each of
+the extremities draw a circle <span class="sc2">C</span>, the
+radius of which shall equal the whole diameter of the first circle
+plus an eighth; and where these circles intersect erect the
+pinnacle. The whole can be done with compasses and rule.</p>
+
+<div class="figcenter">
+<figure id="i006"><a href="images/fig006.jpg"><img src=
+'images/fig006.jpg' alt='' class="iw17"></a>
+<p class="cp1">FIG. 6.—DIAGRAM SHOWING PROPORTIONS OF A DOME.</p>
+</figure>
+</div>
+
+<p>Domes are generally built of brick, not moulded to fit the
+curve, but simply laid each tier a little within the lower tier so
+as to form the proper curve; the plaster which coats most
+domes<span class="pagenum" id="Page_62">[62]</span> inside and out
+conceals the slight irregularity of the brickwork. Wooden frames
+are also sometimes used to support the lighter plaster domes, as is
+shown in the foreground of <a href="#i004">fig. 4.</a> Some domes,
+however, are of stone, which is cut to the shape of the curve, and
+carved with the desired pattern. As a rule I have observed that
+plain and fluted domes are of plastered brick, whilst those
+ornamented with zigzag, geometrical, and arabesque devices are more
+commonly of carved stone. The surfaces of the domes are ornamented
+in various ways. Sometimes they are covered with an intricate
+geometrical design, with star centres, as the domes of Kāït Bey and
+Al-Ashraf Bars-Bey in the eastern cemetery. A common decoration
+consists in bands of zigzags, or chevrons close together, running
+horizontally round the dome from base to apex, such as we see in
+the tomb-mosque of Barkūk (1407). Many domes are fluted, and these
+would seem to belong to all periods of Cairo architecture, for we
+find the fluted cupola surmounting the <em>mibkharas</em> or
+quasi-minarets of the mosque of El-Hākim (1012; but these may
+belong to the<span class="pagenum" id="Page_63">[63]</span>
+restoration, in 1303, when it is known that the mibkharas were
+shored up with massive bases), and also in domes in the southern
+burial ground, which apparently belong to the end of the 15th
+century. A rarer and late form of dome ornament consists in
+covering the whole surface with arabesques arranged in large
+outlines, which form a sort of diaper, with a much richer effect
+than mere geometrical ornament. There are a few examples, which are
+probably of very early date, with a lantern pierced with small
+windows, and roofed with a little fluted cupola on the top of the
+larger dome. These are in the southern burial-ground, but are in so
+ruined a condition that there remains no evidence as to their date
+that can be regarded as positive. Certain characteristics of the
+stalactites, however, lead to the belief that they may belong to
+the Ayyuby period (1170-1250). Some of the more elongated domes
+have a second and lower dome structure inside them, from which
+spring<span class="pagenum" id="Page_64">[64]</span> walls to
+support the outer dome. “The dome,” as Franz Bey remarks, “is
+blended with the quadrangular interior of the mausoleum by means of
+pendentives [stalactites]; while externally the union of the cube
+with the sphere is somewhat masked by the polygonal base of the
+dome. In some cases the transition is effected by means of
+gradations resembling steps, each of which is crowned with a
+half-pyramidal excrescence of the height of the step. These
+excrescences might be regarded as external prolongations of the
+pendentives of the interior, but do not correspond with them in
+position. The architects, however, doubtless, intended to suggest
+some such connection between the internal and external
+ornamentation.” Sometimes the dome is set simply on the cube of the
+building with no gradation at all. A row of windows commonly
+surrounds its base.</p>
+
+<div class="figcenter">
+<figure id="i007" class="iw4"><a href="images/fig007.jpg"><img src=
+'images/fig007.jpg' alt=''></a>
+<p class="cp1">FIG. 7.—PLAN OF THE MOSQUE OF SULTAN HASAN.</p>
+</figure>
+</div>
+
+<p>We have digressed thus far in order to finish what had to be
+said on the subject of domes, which form, with minarets, the most
+prominent features of Cairo architecture. As has been remarked,
+they are not found in the mosque of Ibn-Tūlūn, nor indeed in most
+of the cloistered mosques. That of El-Hākim has no dome, nor have
+the Azhar, the mosque of En-Nāsir in the Citadel, that of
+El-Māridāny, and several others, owing to the absence of
+tomb-chapels. Barkūk and El-Muayyad are buried in their mosques,
+and domes are therefore proper. There is a domed structure, indeed,
+in the centre of the court of Ibn-Tūlūn, but the date of this is
+much later than the mosque; and it is a question whether the
+original dome built in this place by Ibn-Tūlūn was not intended to
+cover his own tomb: when he died, and was buried in Syria, the
+domed edifice may have been converted into its present use as a
+fountain for ablutions. There is, however, a feature in the
+cloistered mosques, or in some of them, which has a close
+resemblance to a dome; this is a small cupola, which seems to have
+been not uncommonly erected over the niche. There is such a cupola
+over the niche in Ibn-Tūlūn, and though this is probably of the
+date of the restoration by Lāgīn, in 1296, to<span class="pagenum"
+id="Page_65">[65]</span> judge by the wooden stalactites which are
+found in no other part of the mosque, yet it is probable that the
+restorer only replaced an original cupola with one in the style of
+his own time. The Azhar University mosque, a century later than
+Ibn-Tūlūn, has a raised portion of the arcade over the
+<em>kibla</em>, which once carried a small dome or cupola, and the
+same feature is observed in the Citadel mosque of En-Nāsir
+Mohammad, where the cupola, which stood on high columns, has also
+disappeared. There are probably other examples with traces of this
+arrangement which have been overlooked; but it was not necessary or
+universal. These cupolas over the niche are not domes properly
+speaking, though they have the melon form; they are smaller than
+the true dome, and correspond rather to the lantern of a house.</p>
+
+<p>The ornament of the cloistered mosque consists partly in the
+borders and frieze which run round and above the arches, and
+beneath the crenellated parapet; the capitals of the columns; and
+the geometrical grilles of the windows, of which Ibn-Tūlūn and
+Edh-Dhāhir Beybars offer very fine examples.<a id=
+"FNanchor_18"></a><a href="#Footnote_18" class="fnanchor">[18]</a>
+Some beautiful grilles were still standing in the ruins of the
+mosque of Kūsūn in 1883, though the ex-Khedive had run a road
+through the bulk of this splendid edifice. These ornaments are in
+stone or plaster. In wood, the chief decorations are the Kūfy
+frieze, which may also be of plaster; the ceiling, which is often
+exquisitely painted and carved; the junction with the wall, masked
+by a cornice or stalactite corbels; and the pulpit. Mosaics and
+tiles are chiefly, or exclusively, used in and round the niche in
+the east end, and metal-work and carving are employed for the
+massive doors. All these several modes of decoration will be found
+described under their separate headings.</p>
+
+<p>Of the principal examples of the cloistered mosque in Cairo,
+those of Ibn-Tūlūn, El-Hākim, and Barkūk have the arches supported
+on piers, and running at right angles to the side<span class=
+"pagenum" id="Page_66">[66]</span> of the court; but the mosques of
+‘Amr, the Azhar, of En-Nāsir in the Citadel, of Kūsūn, El-Māridāny,
+El-Muayyad, and others, have columns instead of piers, and the
+arches sometimes run parallel with the court. The marble columns
+employed in mosques, which are often very numerous (the Azhar has
+380 in the sanctuary alone), were generally abstracted from Roman
+buildings or Christian churches, with capitals of various orders,
+arranged with little regard to symmetry, and prolonged in a quaint
+fashion, if too short, by a pedestal or inverted capital used as a
+base. There is, however, a Saracenic capital, derived from simple
+Ptolemaic models, of a distinctive character. It is used both as a
+capital and as a base, and is contained by four surfaces proceeding
+in curves from the square abacus, and joining at the round of the
+column. Above the abacus of this, and also of Roman or Corinthian
+columns, is placed a second abacus of wood, joined from pillar to
+pillar by a wooden bar. The mosque of Barkūk is not only surrounded
+by arches on piers, but instead of a ceiling has a groined brick
+roof, which is very exceptional in mosques, though frequent in
+other buildings—as in the great stone city gate, the
+Bāb-en-Nasr.</p>
+
+<p>The second style of mosque, with the <em>cruciform</em> plan
+(<a href="#i007">fig. 7</a>), cannot better be exemplified than by
+the mosque of Sultan Hasan. This magnificent edifice, the loftiest
+and in some respects the most imposing in Cairo, was built during
+the years 1356-9, at the cost of 1,000 dīnārs of gold a day, and
+the legend is related that the Sultan took the futile precaution of
+cutting off the architect’s hand in order to prevent any further
+efforts of his genius. The interior of the mosque consists of a
+cross, of which transept on the east side, which may be compared to
+a chancel, is larger than the three other arms, while the founder’s
+chapel (over which is the dome) occupies the position of a
+lady-chapel behind the chancel. The outline of the founder’s chapel
+is visible on the outside, but the cross-shape is not; the spaces
+in the right angles, between the four transepts or arms, are so
+filled with offices<span class="pagenum" id="Page_67">[67]</span>
+and schools and other apartments (as is the case with most
+cruciform mosques) that the exterior has the form of an irregular
+oblong, the sloping outline of which is partly due to the line of
+the street which runs past the mosque to the Citadel which it
+confronts. The exterior walls from the base to the top of the
+cornice are about 113 feet high, and are entirely built of
+finely-cut stone brought from the Pyramids. The broad expanse of
+wall is slightly relieved by windows, of which the most
+prominent—those of the founder’s chapel—consist of two
+horseshoe-headed lights, surmounted by a single round window,
+placed in a tall shallow recess, which is brought forward at the
+top to the face of the wall by stalactite corbelling supporting a
+trefoil arch. The other windows are plain rectangular grilles
+(sometimes as many as eight, one above another), similarly placed
+in tall shallow recesses with stalactite tops, or small circular
+windows set in square recesses. The eastern corners of the main
+building resemble polygonal towers, and the angles of the chapel
+are ornamented with graceful pilasters or engaged columns, carved
+in a spiral or twisted design, with stalactite capitals, reaching
+to nearly half the height of the wall. The cornice, which is
+unusually prominent in this mosque and forms one of its most
+beautiful features, consists of six tiers of stalactites, each
+overhanging the one below it, till the top projects some six feet;
+the coping is plain, without the usual crenellated parapet. The
+other external ornaments are—(1) the dome, which was rebuilt in the
+last century, and though large, is squat, and wholly unworthy of
+the mosque; (2) the two minarets, of which that on the south-east
+angle of the mosque is the tallest (280 ft.) in Cairo, a handsome
+structure, with two galleries, and a cupola on the summit, resting
+on graceful pillars, erected on a third gallery; another lofty
+minaret, over the portal, was thrown down by an earthquake in 1361,
+soon after its completion, killing three hundred children in the
+adjoining school; the other surviving minaret is a puny erection,
+and gives the mosque a lop-sided aspect; and (3) last, but by no
+means least, the splendid main<span class="pagenum" id=
+"Page_68">[68]</span> portal. This gateway, which is approached by
+some seventeen rather insignificant steps, laid sideways along the
+face of the wall,<a id="FNanchor_19"></a><a href="#Footnote_19"
+class="fnanchor">[19]</a> is the chief subject of external
+decoration in the mosque. It consists of a square arched niche, or
+recess, 66 feet high, open to the outside, and vaulted in a half
+sphere, which is gradually approached by twelve tiers of
+stalactites, ingeniously arranged so as to modulate the square
+recess into the semi-domed summit. At each side of the portal, on
+the outer wall, are tall borders of bold arabesques, with
+stalactite summits, and arabesque medallions at the base, running
+up the whole height of the portal. Beyond these on either side are
+geometrical panels, and then twisted corner columns with stalactite
+capitals, which bound the slight projection or buttress in which
+the portal is set. The inner angles of the gateway are decorated
+with smaller columns (not twisted), with stalactite capitals and
+borders of fine geometrical and arabesque (<a href="#i008">fig.
+8</a>) designs. On either side of the niche, inside, is an arched
+recess for the doorkeepers, set between columns, and surmounted by
+stalactites and patterns of coloured stone, and over the central
+bronze-plated door, which leads into the mosque, is a window with
+similar side columns and stalactites. The surfaces of the interior
+walls of the gateway are variegated by alternate courses of black
+and white marble.<a id="FNanchor_20"></a><a href="#Footnote_20"
+class="fnanchor">[20]</a></p>
+
+<div class="figcenter">
+<figure id="i008" class="iw3"><a href=
+"images/fig008_large.jpg"><img src='images/fig008.jpg' alt=''></a>
+<p class="cp1">FIG. 8.—ORNAMENT FROM THE PORTAL OF SULTAN
+HASAN.</p>
+</figure>
+</div>
+
+<p>Passing into the mosque, through a handsome vaulted vestibule
+and some bent passages, we find ourselves in the hypaethral court,
+or <em>sahn el-gāmi‘</em>, which is 117 feet long by 105 feet wide.
+It is<span class="pagenum" id="Page_70">[70]</span> paved with
+marble slabs and medallions arranged in various patterns. In many
+mosques massive granite slabs taken from the ancient temples of
+Egypt, and sometimes carved with hieroglyphics, are laid in the
+pavement, especially at the threshold. In the centre is a
+<em>meyda‘</em>, or tank for ablutions, crowned by a ruinous
+plastered wood cupola, resting on eight marble columns, by the side
+of which stands a smaller octagonal fountain, or <em>hanafīya</em>,
+with taps, for the use of the sect of the Hanafis, who require
+running water for their washings preparatory to prayer. Each of the
+four transepts, opening out of the court and raised a step above
+its level, consists of a single deep arch, the arching being
+continued throughout the whole depth of the transept. On either
+side of the north, south, and west transepts is a door set in a
+stalactite recess, with windows over it. The transept at the east
+end is larger and loftier than the other three. It is ninety feet
+high, ninety feet deep, and sixty-nine feet wide. The framework of
+this vast arch is stated to have cost 100,000 francs. Like the rest
+of the mosque, the interiors of the transepts are built of brick
+plastered over; but the facing of the arches (where every third
+course is coloured red) is of stone, and the walls which connect
+and surround the arches, forming the square outline of the court,
+are also of stone, but are plastered over. The coping of the court
+is formed by an embattled parapet. The smaller transepts are almost
+plain, but the chancel or sanctuary at the east is adorned with a
+marble dado, which runs round it to the height of about four feet;
+and the east wall or back of this is richly decorated with marble
+slabs, which rise to the height of thirty feet, and are arranged in
+rectangular panels and borders of contrasted colours, black, white,
+and yellow. In the centre of the east wall is the <em>mihrab</em>,
+or niche, indicating the direction of prayer towards Mekka.<a id=
+"FNanchor_21"></a><a href="#Footnote_21" class="fnanchor">[21]</a>
+This consists in a semicircular recess about six feet wide, the
+front edges of which are composed<span class="pagenum" id=
+"Page_72">[72]</span> of two marble columns, and the top of a
+pointed arch vaulted like a shell inside. The interior of the niche
+is beautifully adorned with three tiers of arches (the first
+pointed, the second round, and the third trefoil) supported by
+dwarf columns, one above the other, and divided by arabesque
+borders and bands of greenstone. The backgrounds of the arches
+behind the dwarf columns are alternately of red and green marble.
+The shell-like top of the niche is decorated with marbles arranged
+in rays, and the facing of the arch itself is treated with the
+common zigzag ornament, which is seen so frequently round arches
+and over doors in Cairo. The effect of the whole is extremely rich,
+and the details are finished with infinite care and skill. A Kūfy
+inscription (<a href="#i009">fig. 9</a>) of large bold characters
+within fine borders runs round the sanctuary just above the
+marbles, and overlaps the edges of the arch. Above this, in the
+east wall, are two windows, each of two lights with a circular
+light above, and a central round aperture. In front of the niche, a
+little on the left hand (as you face the court), stands the pulpit,
+a staircase enclosed by high sides, and ending in a small platform
+surmounted by a cupola supported by a column on either side. Most
+pulpits are of carved and panelled wood, but that of Sultan Hasan
+is of coloured marbles arranged in circular medallions. Further in
+front, nearer the court, is the <em>dikka</em>, or tribune, which
+in most mosques is a light structure of wood, but here is of stone
+and marble, and rests upon solid piers and columns, with very
+graceful columns let into the corners, and formed of alternate
+zigzag drums of white, black, and yellow marble. From the top of
+the arch hang seventy-seven cords, to which are fastened as many
+small glass lamps, and many more are suspended from the simple
+gallows brackets which are ranged along the side walls, about
+half-way between the dado and the Arabic inscription. A large
+bronze chandelier hanging from the keystone of the great arch
+completes the furniture of the sanctuary.</p>
+
+<div class="figcenter">
+<figure id="i009" class="iw3"><a href=
+"images/fig009_large.jpg"><img src='images/fig009.jpg' alt=''></a>
+<p class="cp1">FIG. 9.—KUFIC FRIEZE IN MOSQUE OF SULTAN HASAN.</p>
+
+<p class="cp2">Fourteenth Century.</p>
+</figure>
+</div>
+
+<p><span class="pagenum" id="Page_73">[73]</span>By a beautiful
+bronze-plated door, on either side of the niche, we obtain access
+to the sepulchral chapel of the Sultan who caused all this
+wonderful building to be erected for the honour of his Creator and
+himself. This is the portion of the mosque which underlies the
+dome. It is sixty-nine feet square, and is surrounded on all sides
+with fine tablets of coloured marbles, forming a dado of the height
+of twenty-five feet or more, and broken by eleven arches, either
+blind or with doors closing cupboards, and including a niche in the
+east wall resembling in design the niche of the inner wall already
+described. Over the marbles is the “Throne Verse” from the Koran
+(ch. ii. v. 256) carved in wood, and forming a frieze all round,
+interrupted only by medallions containing the name of the Sultan;
+the usual lamp brackets are fixed above the frieze. Higher up still
+are the windows, which are badly planned; most of the glass is
+gone, and what remains resembles common bottle glass. Above are
+fine wooden stalactites, painted and gilt, marking the transition
+from the square to the dome. The founder’s tomb is a plain marble
+grave, enclosed in a simple wooden railing:—the whole chapel is the
+true tomb. It should be noted that the tomb chapel is not
+surrounded like the rest of the mosque by offices, schools, and
+chambers of all sorts; it stands out clear from everything, and
+three of its sides are outside walls, the fourth being the east
+wall of the sanctuary.</p>
+
+<p>Such is the great mosque of Sultan Hasan. It forms a typical
+example of the cruciform mosque, although its materials are much
+more substantial and costly than usual, and its size far transcends
+all other mosques of this plan. In none other do we find the same
+noble span of arch, the same lavish display of marbles; in a word,
+the same grandeur. But there are many mosques in Cairo that are
+more pleasing than that of Sultan Hasan, whose broad surfaces of
+unrelieved plaster find inadequate compensation in the rich but
+heavy mosaics of the sanctuary wall. And in spite of its imposing
+proportions, there is something ungainly about the exterior of this
+big mosque; the stone walls, besides the defect of being
+unparallel,<span class="pagenum" id="Page_74">[74]</span> seem
+heavy and insufficiently relieved; the dome, being modern, is
+unsightly; and the minarets do not balance. For a very different
+specimen of a mosque of the same cruciform plan, let us glance at
+the illustration (<a href="#i001">frontispiece</a>) of the
+mausoleum of Kāït Bey, another Mamlūk Sultan, and the prince of
+Cairo builders. This mosque is situate in that wonderful wilderness
+of exquisite domes and minarets known as the great or eastern
+Karāfa or cemetery, and also as the Karāfa of Kāït Bey <em>par
+excellence</em>. Here we see the dome and minaret in their utmost
+perfection, and the proportions of the cruciform mosque most
+admirably displayed. The exterior is fluted with shallow recesses
+like Sultan Hasan’s, in which the windows are set, and is striped
+red and white, in imitation, no doubt, of the ancient Roman
+buildings of Egypt, where courses of red brick alternate with a row
+of white stone. The effect is not so unpleasant as might be
+imagined; for when time has softened the red ochre, the zebra-like
+walls seem suited to the character of the architecture.<a id=
+"FNanchor_22"></a><a href="#Footnote_22" class="fnanchor">[22]</a>
+The door is set in a deep recess like that of Sultan Hasan, but on
+a smaller scale; and the details of such doors may be better seen
+in the engraving (<a href="#i010">fig. 10</a>), which represents a
+gateway of another mosque of the same Sultan within the city of
+Cairo. Kāït Bey’s mosques, and those generally of a late period,
+are much more elaborately decorated than early cloistered mosques
+like Ibn-Tūlūn. We have seen that the ornament in the latter
+consists chiefly in bands and friezes running round and above the
+arches, and in the mosaics in the sanctuary. In Kāït Bey’s mosques
+the triangular spaces between the arches and the square of the
+court are filled with arabesque scrolls carved in stone; the
+keystone and every alternate stone in the arch is similarly
+ornamented; the interior doors are surmounted by<span class=
+"pagenum" id="Page_76">[76]</span> carved architraves, and over
+these are little windows between pillars, and surmounted by
+stalactites. Medallions occupy the centres of large expanses of
+ornament, and are filled with the name and titles of the Sultan who
+built the mosque, with a prayer,—“Send him victorious!” Marble
+inlay covers the lower portions of the walls, and marble slabs are
+arranged in the pavement. The whole interior surfaces wear the
+aspect of a beautifully woven and embroidered carpet, and however
+much we may criticise the structural vagueness of the edifice, it
+is impossible to refuse our admiration to the details of the
+ornament. These complexly-decorated mosques are naturally of the
+smaller cruciform shape, for the large extent of wall in the
+cloistered style would not only demand an almost impossible
+quantity of costly material and time, but would not repay the
+artist in the effect.</p>
+
+<div class="figcenter">
+<figure id="i010"><a href="images/fig010_large.jpg"><img src=
+'images/fig010.jpg' alt='' class="iw6"></a>
+<p class="cp1">FIG. 10.—DOORWAY OF SMALLER MOSQUE OF KAIT BEY.</p>
+
+<p class="cp2">Fifteenth Century.</p>
+</figure>
+</div>
+
+<p>The two general types of mosque described above, with their
+usual styles of decoration, will give a sufficient idea of the
+purposes to which the arts of the Saracens are applied; but they do
+not by any means exhaust either the architectural character or the
+modes of decoration of the religious buildings of Cairo. It is not
+possible in a limited space to enter into the varieties of Cairo
+mausoleums, dervish convents, and other buildings; but a few
+examples will serve to show that, while the majority of mosques
+fall under one or other of the categories above described, there is
+infinite variety among those that depart from the ordinary outline.
+Among these, one of the most remarkable is the mausoleum of Kalaūn.
+This is attached to the northern side of the great hospital or
+Māristān, built by that Sultan in the Beyn-el-Kasreyn, and
+separated from it by a vaulted passage entered through a splendid
+black and white marble portal.<a id="FNanchor_23"></a><a href=
+"#Footnote_23" class="fnanchor">[23]</a> The Māristān originally
+comprised an infinity of chambers, lecture-rooms, theatres for
+operations, surgeons’ rooms, mortuary, professors’<span class=
+"pagenum" id="Page_77">[77]</span> lodgings, cells for the mad
+patients, a mosque, and many other features, of all which little
+now remains. But the tomb of the builder, which is entered from a
+gateway in the passage opposite to that which admits one into what
+is still standing of the once extensive Māristān, is in extremely
+fine preservation, and contains many peculiar and beautiful
+features. It is built of stone, and consists of a vestibule or
+antechapel, and a square chapel, covered originally by a dome, but
+now only by a flat ceiling. The support of the dome is an octagonal
+inner structure, resting upon eight arches, of an elongated and
+slightly horse-shoe form, supported by four piers and four massive
+granite monolithic columns. The arches are surrounded by a border
+of very delicate and lace-like arabesque tracery, in plaster, which
+terminates over each of the eight arches in a rose of arabesque
+open-work. Above each arch is a window composed of two round-headed
+lights and a circular light above. The niche is decorated with
+beautiful dwarf arcades, the arches being delicately chiselled in a
+very graceful shell form, and supported by little pillars. Bands of
+coloured marble separate each tier from the next. The marble tomb
+is in the centre of the chapel, enclosed with a wooden railing of
+coarse lattice work; but the magnificent carvings on the doors of
+the Māristān (<a href="#i046">figs. 46-48</a>) atone for any
+shortcomings in the tomb itself.</p>
+
+<p>The exterior of the mausoleum is coloured red and white in
+squares like a draught-board, and is peculiar in other respects. At
+the base, half a dozen dwarf columns, surmounted by tall piers or
+pilasters, support lofty arched recesses, running nearly the full
+height of the wall. The recesses are not of equal size; and the
+larger are occupied by a single window between columns (divided
+into two lights by a column surmounted by a round light, giving the
+effect of a trefoil), and the smaller by a similar window over a
+small pointed window of a single arch. The windows are filled with
+grilles of geometrical open-work, and the arched portions of the
+recesses in which they are set are coloured in radiating
+bands<span class="pagenum" id="Page_78">[78]</span> of red and
+white; and even the columns share in this zebra decoration. Beneath
+the row of windows, running across pilasters and recesses alike, is
+a fine Arabic frieze, painted red, and at the top of the wall is an
+embattled parapet of remarkably fine zigzag teeth filled with
+geometrical ornaments. The cornice is a mere double line. Over the
+top are seen the windows, set in pointed arches, of the internal
+octagonal structure, which ought to be crowned by a dome; and on
+the right-hand side is a massive square minaret (of somewhat later
+date) in three stories, each with its plain gallery supported by
+very simple stalactite cornices, the first checkered red and white,
+the second in red and white bands, the third cylindrical,
+ornamented with striped columns surmounted by interlaced arched
+tracery.</p>
+
+<p>The domestic architecture of Cairo, varied as are its details,
+possesses certain general features common to all examples. The
+first and all-important object of the Mohammadan architect was to
+screen the women of the house from the view of strangers. Cairene
+building rests on the principle that the inmates of the house must
+neither be seen of passers by, nor see too much themselves of the
+outside world. Hence the prime condition of domestic architecture
+was to build the rooms round an interior court, into which the
+chief windows looked, and to make as few windows as possible, and
+those few closely latticed. As a result, those streets of Cairo
+which are lined with private houses exhibit a somewhat monotonous
+aspect. The houses are generally two or three stories high—in the
+old Mamlūk days they were of five stories—and are built of stone on
+the ground floor (coloured in alternate red and white courses with
+red ochre and limewash), and of brick tied with wood and coated
+with white plaster on the upper stories. The doors are often very
+tastefully ornamented (<a href="#i011">fig. 11</a>); but there the
+external decoration generally ends, for the windows on the ground
+floor are generally but small rectangular apertures closed with
+lattice work, and set high above the reach of curious eyes, and
+even those on the<span class="pagenum" id="Page_80">[80]</span>
+upper stories are commonly small and plain, and arranged with no
+regard to symmetry, though there are still some examples of streets
+where the higher floors of the houses are furnished with
+richly-ornamented lattice windows (<a href="#i012">fig. 12</a>).
+These lattice windows are called <em>meshrebīyas</em>, “drinking
+places,” from the semi-circular or semi-octagonal bow, which
+commonly juts out from their centre, in which the porous
+water-bottles of the house are placed to cool by evaporation in the
+air. Unlike the mosques, there are no friezes of ornament or
+inscriptions on the outer walls of houses.</p>
+
+<div class="figcenter">
+<figure id="i011"><a href="images/fig011.jpg"><img src=
+'images/fig011.jpg' alt='' class="iw10"></a>
+<p class="cp1">FIG. 11.—DOORWAY OF A PRIVATE HOUSE.</p>
+
+<p class="cp2">(From a Sketch by J. W. Wild.)</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i012" class="iw6"><a href=
+"images/fig012_large.jpg"><img src='images/fig012.jpg' alt=''></a>
+<p class="cp1">FIG. 12.—A STREET IN CAIRO.</p>
+</figure>
+</div>
+
+<p>The door generally opens flat against the side wall of the
+passage inside, turning upon a pivot in the lintel and threshold,
+and is confronted by the <em>mastaba</em> or stone seat (sometimes
+replaced by a <em>dikka</em> or chair of lattice work) on which the
+door-keeper (<em>bawwāb</em>) sits. Thence a passage, which makes
+one or two sharp bends, with the intention of foiling any attempt
+of inquisitive eyes to see into the interior through the door when
+it happens to be open, leads into a square court, unpaved, and open
+to the sky, in which is a tree shading the well, supplied by
+infiltration from the Nile with somewhat brackish water. No eye
+should see into the court from any other house, still less from any
+street. The four sides are lofty, and are composed of the rooms of
+the house, with their beautiful meshrebīyas, or if only three sides
+are thus occupied, the fourth consists of a plain partition wall,
+dividing the house from its next-door neighbour, and pierced by no
+aperture. The south side of the court is that on which the chief
+rooms of the mansion are built, for here the cool northern breezes,
+so dear to Cairenes in the hot season, can best be enjoyed. The
+rooms most accessible from the court, on the ground floor, are
+those which belong to the men of the household, and include the
+offices, stables, storerooms, and men-servants’ rooms, besides the
+reception-rooms of the master for his male guests. These last, in
+the best houses are three in number: the <em>mandara</em>, the
+<em>mak‘ad</em>, and the <em>takhtabōsh</em>. The two last are
+chiefly for summer use; the<span class="pagenum" id=
+"Page_82">[82]</span> first is the general men’s saloon. The
+takhtabōsh is nothing more than a recess in the corner of the
+court, supported by a single column, paved with marble, and
+furnished with divans; it is an alcove rather than a room. The
+mak‘ad is a belvedere or open gallery, raised some eight or ten
+feet above the ground, on the south or cool side of the court, into
+which it looks through three or four arches, open to the northern
+breeze. It is plainly furnished like the takhtabōsh, and is a
+pleasant lounge for the men in hot weather. Sometimes this
+belvedere is latticed in front for the use of the women, but, as a
+rule, it is a man’s apartment. The third room, the
+<em>mandara</em>, is arranged, like all Cairene reception-rooms of
+the closed order, in two levels. A paved walk or floor, leading
+from the door, and ornamented with coloured marbles, is called the
+<em>durkā‘a</em>, and its use is to receive the visitor’s shoes
+before he steps up to the carpeted portion of the room. The durkā‘a
+has often a fountain playing in the centre, in the midst of a
+tesselated marble border, and a sideboard or stand for
+water-bottles occupies the extremity facing the door. On one side
+of this narrow pathway is the room proper, to which the durkā‘a
+supplies the place of a vestibule. There is no partition between
+the two, but the room is raised a step higher. The general plan of
+a reception-room is thus seen to consist in a low pavement and a
+daïs. The daïs, which is not a mere recess, but a spacious room, is
+furnished with divans running round the sides, raised from the
+floor by low stone slabs or palm-frames. Above the divan is a dado
+of coloured marbles or tiles, broken only by the cupboards, with
+little open arcades, filled with porcelain and earthenware vessels,
+by recesses containing cushions for reclining, and at the end by
+the <em>meshrebīya</em> or lattice window, over which is often a
+row of stained-glass windows forming the topmost panel of the
+meshrebīya, or a few windows of the same character are set in the
+wall above. The surface of the walls is simply lime-washed, or left
+of uncoloured plaster, and a plain wooden shelf forms the principal
+relief.<span class="pagenum" id="Page_83">[83]</span> The ceiling
+is constructed of beams, clearly displayed, and resting on corbels
+or cornices, all of which are painted and gilt in arabesque
+designs, while the spaces between the beams are coffered in little
+compartments, each decorated with tasteful arabesque and floral
+designs.<a id="FNanchor_24"></a><a href="#Footnote_24" class=
+"fnanchor">[24]</a></p>
+
+<div class="figcenter">
+<figure id="i013" class="iw4"><a href="images/fig013.jpg"><img src=
+'images/fig013.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 13.—PLAN OF A CAIRO HOUSE. GROUND FLOOR.</p>
+
+<p class="cp3"><span class="less">B B</span>. Street; 1. Stable; 2.
+Bakehouse; 3. Kitchen; 4. Small mandara; 5. Entrance; 6. Strangers’
+room; 7. Chief mandara; 8. Mak‘ad; 9. Court; 10. Servants’
+room.</p>
+</figure>
+</div>
+
+<p>A small and carefully-closed door conducts to the <em>harīm</em>
+or women’s apartments, which are on the upper floors, or in large
+houses occupy a separate court to themselves. Of the <em>harīm</em>
+rooms the chief is the great <em>Kā‘a</em> or reception-room. This
+resembles the <em>mandara</em> in its decoration, but has a
+<em>līwān</em> or daïs on each side of the <em>durkā‘a</em> instead
+of only on one side, and thus forms<span class="pagenum" id=
+"Page_84">[84]</span> a double room.<a id=
+"FNanchor_25"></a><a href="#Footnote_25" class="fnanchor">[25]</a>
+It is also loftier than the mandara, and often rises to the roof of
+the house, while its durkā‘a (which seldom has a fountain) is
+surmounted by a sort of clerestory, projecting above the rest of
+the ceiling, and crowned by a lantern or cupola. There are also
+some smaller sitting-rooms; and bedrooms, which are supplied with
+no furniture but the pallet-bed, which is rolled up and thrust away
+into a closet in the morning. There is often a small sitting-room
+on the top story, with a cupola, an example of which is to be seen
+in the South Kensington Museum (No. 1193-1883), and also some
+ventilating chambers, open to the flat roof, on which are erected
+the sloping wooden screens or <em>malkafs</em>, so familiar to
+those who have looked down upon Cairo from the Citadel, the object
+of which is to guide the<span class="pagenum" id=
+"Page_85">[85]</span> north winds down into the house. In the
+ventilating chambers beneath the malkafs, or on the upper terrace
+of the roof, open to the sky, the inhabitants are wont to sleep in
+the hot months.</p>
+
+<div class="figcenter">
+<figure id="i013a" class="iw4"><a href=
+"images/fig013a.jpg"><img src='images/fig013a.jpg' alt='' class=
+"iw12"></a>
+<p class="cp1">FIG. 13A.—FIRST FLOOR.</p>
+
+<p class="cp3">1. Servants’ rooms; 2. Linen room; 3. Space over
+rooms; 4. Men’s rooms; 5. Mandara; 6. Space over chief mandara; 7.
+Courtyard; 8. Strangers’ rooms.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i013b" class="iw4"><a href=
+"images/fig013b.jpg"><img src='images/fig013b.jpg' alt='' class=
+"iw12"></a>
+<p class="cp1">FIG. 13B.—SECOND FLOOR.</p>
+
+<p class="cp3">1. Rooms; 2. Bath; 3. Harim; 4. Space over mandara;
+5. Space over rooms; 6. Court; 7. Strangers’ rooms.</p>
+</figure>
+</div>
+
+<p>The arrangement of the rooms is incapable of generalisation;
+they are built on every variety of plan: that given in the
+accompanying diagrams (from Prof. Ebers’ <em>Egypt</em>) is a fair
+example. Some, like the great <em>kā‘as</em> and <em>mandaras</em>,
+may rise to the whole height of the house; others form mezzanine
+stories of the normal height of fourteen feet. You frequently have
+to ascend or descend several steps in going from one chamber to the
+next. Seclusion for the women, air from the north, and subdued
+light, are the three essentials, and after these have been attained
+the architect could exercise his ingenuity as he pleased. It should
+be noticed that Cairo architecture is an internal art, for all its
+best skill<span class="pagenum" id="Page_86">[86]</span> is spent
+on the interior of the house; and that the decoration is
+architectural, since, as has been well said, the rooms are
+furnished by the architect and not by the upholsterer. The general
+effect of the courts surrounded by lattice-windows and arched
+belvedere, and of the interior of the reception-rooms, with their
+soft light, primitive colours, and obvious honesty of construction
+and decoration, is strangely attractive. The honesty of the work
+impresses one everywhere: “The beams which support the ceiling are
+plainly visible to the eye, and are supported at the ends by
+elongated corbels ending in perfect stalagmitic patterns. Nothing
+is hidden away; there is no insincere work. One of the beauties of
+the rooms is the extensive use of wood, and the rare use of stucco,
+which is indeed a testimonial to the sterling value of the
+architect’s work, since he preferred to go out of his way to employ
+wood for his purpose, when he might have got a far easier but more
+perishable material at home.”<a id="FNanchor_26"></a><a href=
+"#Footnote_26" class="fnanchor">[26]</a></p>
+
+<p>The houses above described are those of ordinary gentlemen of
+fifty years ago. In the great periods of Fātimy and Mamlūk
+splendour—to judge from contemporary records and the scanty remains
+that have come down to us—the palaces of the chief lords were much
+more splendid. Nāsir-i-Khusrau, who travelled in Egypt in the 11th
+century, remarks that most of the houses of Cairo had five or six
+stories, and were built with such care that one might fancy they
+were constructed of precious stones instead of mere plaster and
+brick and ordinary stone. Each house, he adds, was isolated from
+its neighbour’s by gardens. Jehan Thénaud, who accompanied André Le
+Roy, the ambassador of Louis XII. to the Mamlūk Sultan El-Ghōry, at
+the opening of the 16th century, tells us that the house assigned
+to the embassy contained six or seven beautiful halls, paved with
+marble, porphyry, serpentine, and other rare stones, inlaid with
+wonderful art; the<span class="pagenum" id="Page_87">[87]</span>
+walls were of similar mosaic, or painted with azure and rich
+colours; the doors inlaid with ivory, ebony, and other
+<em>singularitez</em>; yet the workmanship excelled the materials.
+Extensive gardens, filled with fruit-trees, surrounded the mansion,
+and were watered from the Nile night and morning by means of horses
+and oxen. Such a house, he exclaims, might have cost 80,000 seraps
+of gold; yet it was but one of a hundred thousand more beautiful
+still!<a id="FNanchor_27"></a><a href="#Footnote_27" class=
+"fnanchor">[27]</a></p>
+
+<p>The chief buildings of Cairo, besides mosques and houses, are
+the street fountains and schools, which are very numerous, and the
+<em>khāns</em> or <em>wekālas</em> for merchants. These often go
+together, as in the wekāla of Kāït Bey, of which a description is
+given in the next chapter (<a href="#Page_104">pp. 104-112</a>).
+The khān or wekāla is a rectangular building enclosing an open
+court, and consisting of numerous chambers, which are occupied by
+merchants who come to the city for a few days’ or weeks’
+trafficking; it is, in fact, the commercial hotel of the East.
+Stables for the asses and other beasts are on the ground floor
+inside, and the exterior is commonly fringed with a row of small
+shops of the usual Eastern pattern—namely, a recess in the wall,
+some six feet square, furnished with shelves for the goods, and a
+divan for the seller and purchaser. Similar shops fringe the ground
+floors of the houses in the principal streets, the upper stories of
+which have no connection with the shops, but are generally
+partitioned into lodgings. The shops open only on the street, and,
+when the shopman goes home, are closed with wooden shutters. The
+<em>sebīls</em> or street fountains consist externally of a front
+of semicircular form, with grated windows and a row of brass pipes,
+from which water may be sucked by passers-by, or a row of apertures
+through which they may thrust their arms with a brass cup (which is
+provided outside) to the tank of water within. Over the fountain is
+a room, with open arched windows, where a pedagogue instructs the
+youth of Cairo in the art of reading the Koran, and not much else.
+These sebīls, with their schools, are<span class="pagenum" id=
+"Page_88">[88]</span> pious foundations, and are generally
+connected with some mosque. The walls of the interior of some of
+the better style, such as that of ‘Abd-er-Rahmān Kikhya or Ketkhuda
+(18th century), are decorated with earthenware tiles of floral
+patterns, and often with a bird’s-eye view of Mekka, with the Ka‘ba
+and other holy places, represented on the tiles. Such fountains are
+among the most ornamental features of the streets of Cairo, though
+most of them belong to the Turkish period of decadence.<a id=
+"FNanchor_28"></a><a href="#Footnote_28" class=
+"fnanchor">[28]</a></p>
+
+<p>In concluding this brief survey of the chief characteristics of
+Cairo architecture, it cannot be concealed that the style fails to
+give complete satisfaction to an eye trained in the contemplation
+of either the Classical or the Gothic orders. The Saracen builders
+do not seem to have been possessed with an architectural idea; the
+leading consideration with them seems to have been not form but
+decoration. For the details of the decoration it is impossible to
+feel too much admiration; they are skilfully conceived and worked
+out with remarkable patience, honesty, and artistic feeling. But
+the form, of which they are the clothing, seems too often to want
+purpose; there is a curious indefiniteness about the mosques, a
+want of crown and summit, which sets them on a much lower level
+than the finest of our Gothic cathedrals. It is perhaps unfair to
+judge of them in their more or less ruinous state; yet their
+present picturesque decay is probably more effective than was the
+sumptuous gorgeousness of their<span class="pagenum" id=
+"Page_89">[89]</span> colours and ornament when new. The want of
+bold relief in the ornament is one of the most salient defects to
+us of the north; we find the surfaces of the mosque exteriors flat
+and monotonous. The disregard of symmetry is another very trying
+defect to eyes trained in other schools of architecture; the
+windows, minarets, &amp;c., are scattered with no sense of balance;
+and the dome, instead of crowning the whole edifice covers a tomb
+at the side of the building, and thus infallibly gives it a
+lopsided aspect. It is chiefly to the grace of their minarets, the
+beauty of their internal decoration, and the soft effects of the
+Egyptian atmosphere upon the yellowish stone of which they are
+built, that the mosques of Cairo owe their peculiar and
+indestructible charm. A charm they have undoubtedly, which is
+apparent and fascinating to most beholders; but it is due, I
+believe, to tone and air, to association, to delicacy and ingenuity
+of detail, and not to the architectural form. Franz Pasha, the
+architect to the Khedive’s Government, himself a fervent admirer of
+what is really excellent in Saracenic art, has the following
+criticism on the architecture: “While bestowing their full meed of
+praise on the wonderfully rich ornamentation and other details of
+Arabian architecture, one cannot help feeling that the style fails
+to give entire aesthetic satisfaction. Want of symmetry of plan,
+poverty of articulation, insufficiency of plastic decoration, and
+an incongruous mingling of wood and stone are the imperfections
+which strike most northern critics. The architects, in fact,
+bestowed the whole of their attention on the decoration of
+surfaces; and down to the present day the Arabian artists have
+always displayed far greater ability in designing the most
+complicated ornaments and geometrical figures on plane surfaces
+than in the treatment and proportioning of masses. Although we
+occasionally see difficulties of construction well overcome, as in
+the case of the interior of the Bāb-en-Nasr, these instances seem
+rather to be successful experiments than the result of scientific
+workmanship. The real excellence of the Arabian architects lay in
+their skill in masking<span class="pagenum" id=
+"Page_90">[90]</span> abrupt angles by the use of stalactites or
+brackets. If we inquire into the causes of these defects in the
+developments of art, we shall find that the climate is one of the
+principal; its remarkable mildness and the rareness of rain have
+enabled architects to dispense with much that appears essential to
+the inhabitants of more northern latitudes; and hence the imperfect
+development and frequent absence of cornices. The extraordinary
+durability of wood, again, in Egypt has led to its being used in
+the construction of walls and in connection with stone, in a manner
+that would never occur to northern architects. Another cause,
+unfavourable to the development of native art, has doubtless been
+the ease with which the architects obtained the pillars and
+capitals in ancient buildings ready to their hand.”<a id=
+"FNanchor_29"></a><a href="#Footnote_29" class=
+"fnanchor">[29]</a></p>
+
+<p>The architect goes on to point out how political changes, and
+the respect for traditional forms, and the superstitious dread of
+the evil eye, bearing upon external display, have combined to
+arrest the development of Cairo architecture. There is much that is
+penetrating and just in this criticism; but it is clearly the
+criticism of a northern artist. We have come to regard certain
+architectural features, such as cornices, as essential, which an
+eastern would regard as superfluous, and our eye is biassed by what
+it has been accustomed to see in Europe. The main criticism,
+however, stands good, that the beauty of the mosques of Cairo is
+not so much architectural as decorative, and no prejudice can be
+accounted a sufficient reason for disregarding this defect.</p>
+
+<p>Nevertheless, when all has been said, the mosques and older
+houses of Cairo possess a beauty of their own, which no
+architectural canons can gainsay. The houses in particular, by
+their admirable suitableness in all respects to the climate of
+Egypt, their shady, restful aspect, and subdued light, must take a
+high place among the triumphs of domestic architecture. We may
+detect a lack of meaning in this feature and in that, but we
+are<span class="pagenum" id="Page_91">[91]</span> forced to admit
+that the whole effect is soft and harmonious, sometimes stately,
+always graceful, and that the Saracenic architecture of Cairo,
+whatever its technical faults, is among the most characteristic and
+beautiful forms of building with which we are acquainted.</p>
+
+<p>The following list of the principal mosques of Cairo still
+existing will be useful for reference. Considering that there are
+some three hundred mosques in Cairo, to say nothing of
+<em>zāwiyas</em> (or chapels), a complete list would be somewhat
+cumbrous; but the majority of these edifices are comparatively
+modern and of little pretension to architectural merit, which forms
+the sole consideration from our present point of view. El-Makrīzy,
+in his “Topography of Cairo” (<em>Khitat</em>), written about the
+year 1420, enumerates 86 <em>gāmi‘s</em> (or congregational
+mosques, where the Friday prayers were said), 75 <em>medresas</em>
+(or collegiate mosques, where lectures were delivered), 19
+<em>mesgids</em> (or small mosques), 22 <em>khāngāhs</em> (or
+monasteries), 26 <em>zāwiyas</em> (or chapels), 34 mausoleums in
+the Karāfa, and 5 <em>māristāns</em> (or hospitals); in all 279
+mosques or mosque-like edifices. But this is something of a cross
+division, for many of the <em>medresas</em> and <em>māristāns</em>
+were attached to a <em>gāmi‘</em>, and really formed one building
+with it. A large proportion of the mosques described by El-Makrīzy
+still remain, but many of them are in advanced stage of decay. The
+following comprise the best specimens of the different periods, so
+far as they still present fairly preserved architectural
+details.</p>
+
+<p class="center space-above15"><span class="sc">Principal Mosques
+still existing in Cairo</span>.</p>
+
+<table class="padded05" id="t091">
+<tr>
+<th class="tdr">A.H.</th>
+<th class="tdr">A.D.</th>
+<th>
+</th>
+</tr>
+
+<tr>
+<td class="tdr-top">20.</td>
+<td class="tdr-top">640.</td>
+<td class="tdl-top hang1"><em>‘Amr.</em> Frequently restored;
+<em>e.g.</em> in <span class="sc2">A.D.</span> 1049, by
+El-Mustansir; in 1172 by Saladin; after the earthquake of 1302 by
+En-Nāsir. Little of the original building is left.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">265.</td>
+<td class="tdr-top">878.</td>
+<td class="tdl-top hang1"><em>Ibn-Tūlūn.</em> Restored by Lāgīn,
+1296.</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><span class="pagenum" id=
+"Page_92">[92]</span>361.</td>
+<td class="tdr-top">971.</td>
+<td class="tdl-top hang1"><em>Azhar.</em> Injured by earthquake of
+1302, and restored by Salār and Suyurghatmish; again by Sultan
+Hasan in 1360; by Kāït-Bey; and by Kikhya in 1753. Little of the
+original building is left.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">380-403.</td>
+<td class="tdr-top">990-1012.</td>
+<td class="tdl-top hang1"><em>El-Hākim.</em> Injured by earthquake,
+1302; restored in the next year by Beybars II.; again by Sultan
+Hasan in 1359; and again in 1423.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">608.</td>
+<td class="tdr-top">1211.</td>
+<td class="tdl-top hang1"><em>Esh-Shāfi‘y</em> (mausoleum). Built
+by El-Kāmil; restored by Kāït-Bey, El-Ghōry, &amp;c.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">647.</td>
+<td class="tdr-top">1249.</td>
+<td class="tdl-top hang1"><em>Es-Sālih</em> (mausoleum). Injured by
+earthquake, 1302, and restored by En-Nāsir.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">667.</td>
+<td class="tdr-top">1268.</td>
+<td class="tdl-top hang1"><em>Edh-Dhāhir Beybars</em> I.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">683.</td>
+<td class="tdr-top">1284.</td>
+<td class="tdl-top hang1"><em>Kalaūn</em> (Māristān). Minaret
+destroyed by earthquake, 1302, and rebuilt.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">687.</td>
+<td class="tdr-top">1288.</td>
+<td class="tdl-top hang1"><em>Kalaūn</em> (Kubba).</td>
+</tr>
+
+<tr>
+<td class="tdr-top">698.</td>
+<td class="tdr-top">1298.</td>
+<td class="tdl-top hang1"><em>En-Nāsir.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">706.</td>
+<td class="tdr-top">1306.</td>
+<td class="tdl-top hang1"><em>Beybars II. Gāshenkīr.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">718.</td>
+<td class="tdr-top">1318.</td>
+<td class="tdl-top hang1"><em>En-Nāsir, in the Citadel.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">723.</td>
+<td class="tdr-top">1323.</td>
+<td class="tdl-top hang1"><em>Sengar El-Gāwaly</em> and
+<em>Salār</em>, joined.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">739.</td>
+<td class="tdr-top">1338.</td>
+<td class="tdl-top hang1"><em>El-Māridāny.</em> (Architect,
+El-Mu’allim Es-Suyūfy).</td>
+</tr>
+
+<tr>
+<td class="tdr-top">748.</td>
+<td class="tdr-top">1347.</td>
+<td class="tdl-top hang1"><em>Aksunkur.</em> Restored by Ibrāhīm
+Aghā in 1652.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">756.</td>
+<td class="tdr-top">1355.</td>
+<td class="tdl-top hang1"><em>Sheykhū.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">757.</td>
+<td class="tdr-top">1356.</td>
+<td class="tdl-top hang1"><em>Suyurghatmish.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">760.</td>
+<td class="tdr-top">1358.</td>
+<td class="tdl-top hang1"><em>Sultan Hasan.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">770.</td>
+<td class="tdr-top">1368.</td>
+<td class="tdl-top hang1"><em>Umm-Sha‘bān.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">786.</td>
+<td class="tdr-top">1384.</td>
+<td class="tdl-top hang1"><em>Barkūk.</em> (Architect, Cherkis
+el-Haranbuly.)</td>
+</tr>
+
+<tr>
+<td class="tdr-top">808-813.</td>
+<td class="tdr-top">1405-1410.</td>
+<td class="tdl-top hang1"><em>Barkūk, in the Karāfa.</em> Built by
+‘Abd-el-‘Azīz and Farag, sons of Barkūk. (Architect, Lāgīn Tarabay
+(?).)</td>
+</tr>
+
+<tr>
+<td class="tdr-top"><span class="pagenum" id=
+"Page_94">[94]</span>823.</td>
+<td class="tdr-top">1420.</td>
+<td class="tdl-top hang1"><em>El-Muayyad.</em> In process of
+restoration.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">827.</td>
+<td class="tdr-top">1423.</td>
+<td class="tdl-top hang1"><em>El-Ashraf Bars Bey.</em> Also
+<em>mausoleum</em> in the Karāfa.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">860.</td>
+<td class="tdr-top">1456.</td>
+<td class="tdl-top hang1"><em>El-Ashraf Ināl, in the Karāfa.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">877.</td>
+<td class="tdr-top">1472.</td>
+<td class="tdl-top hang1"><em>Kāït Bey, in the Karāfa.</em> Also
+mosque within Cairo.</td>
+</tr>
+
+<tr>
+<td class="tdr-top">886.</td>
+<td class="tdr-top">1481.</td>
+<td class="tdl-top hang1"><em>Kigmās, Amīr Akhòr.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">905.</td>
+<td class="tdr-top">1499.</td>
+<td class="tdl-top hang1"><em>Ezbek.</em>
+</td>
+</tr>
+
+<tr>
+<td class="tdr-top">909.</td>
+<td class="tdr-top">1503.</td>
+<td class="tdl-top hang1"><em>El-Ghòry</em> (two). Restored
+1883.</td>
+</tr>
+</table>
+
+<div class="figcenter">
+<figure id="i014"><a href="images/fig014_large.jpg"><img src=
+'images/fig014.jpg' alt='' class="iw6"></a>
+<p class="cp1">FIG. 14.—ROSETTE IN MOSQUE OF SUYURGHATMISH.</p>
+
+<p class="cp2">Fourteenth Century.</p>
+</figure>
+</div>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_95">[95]</span><a id=
+"c03"></a>CHAPTER III.</h2>
+
+<p class="sch1">STONE AND PLASTER.</p>
+
+<p class="nind"><span class="sc">In</span> the preceding chapter we
+have endeavoured to point out the chief modes of decoration in
+mosques and houses, and the parts selected for ornament. This
+selection seemed a little capricious. It was natural that the
+sanctuary, or east end of the mosque, should be the special subject
+of the artist’s skill, but it is undoubtedly a defect that this
+skill should have been devoted so exclusively to this and other
+fixed points of the building. The bareness of the three other
+transepts of the mosque of Sultan Hasan is only rendered more
+conspicuous by the marble and other decoration of the east end, and
+even there the elaborate ornament of the dado is likely to throw
+the plainness of the roof into the greater prominence. So in the
+treatment of the exterior, the portal engrosses the attention of
+the architect, to the comparative neglect of the walls. This is,
+however, characteristic of Cairo art, and it has its merits. It
+would have been less usual to devote so much skilful work to the
+selected portions if the whole surface had been similarly treated;
+we should have had a general meagreness of ornament. We have now to
+consider the details of the ornament of which the position alone
+was indicated in the last chapter.</p>
+
+<p>We saw that in the great mosque of Ibn-Tūlūn the chief ornament
+consisted in borders of floral designs running round the arches,
+forming friezes above them, and connecting them at the spring.
+These were made of plaster or stucco, worked with a tool when
+in<span class="pagenum" id="Page_96">[96]</span> a moist state, and
+never cast in moulds. The difference is very striking; the softness
+and flexuous grace of the hand-moulded patterns being in strong
+contrast to the hard uniformity of the Moorish mechanical castings.
+The borders of Ibn-Tūlūn are the earliest examples that have been
+found of the geometrical designs and scroll work which afterwards
+became so characteristic of Saracenic ornament. “The scroll-work
+may possibly be traced to Byzantine work, but in this building it
+has assumed an entirely distinct character. It is the ornament
+which thenceforth was gradually perfected, and its stages may be
+traced in the mosques and other edifices of Cairo through every
+form of its development. But in this, its first example, it is
+elementary and rude, and therefore all the more remarkable. Its
+continuity is not strongly marked, its forms are almost devoid of
+grace. In later and more fully developed examples, each portion may
+be continuously traced to its true root—constituting one of the
+most beautiful features of the art—and its forms are symmetrically
+perfect.”<a id="FNanchor_30"></a><a href="#Footnote_30" class=
+"fnanchor">[30]</a> The principal pattern of the stucco or plaster
+borders of the mosque of Ibn-Tūlūn consists in a modification of
+the “knop and flower” pattern which is so familiar in every branch
+of decoration. Almost the same design is found in ancient Egyptian
+wall-paintings at Thebes, and also in the Assyrian ornament of
+Khorsabād.<a id="FNanchor_31"></a><a href="#Footnote_31" class=
+"fnanchor">[31]</a></p>
+
+<p>Plaster ornament is a sign of early date, though it would be
+difficult to assign a satisfactory reason for this. The art of
+carving marble had certainly been known in Egypt long before
+the<span class="pagenum" id="Page_98">[98]</span> Saracens set
+about building mosques, and the Copts have marble pulpits and other
+works of early date. Nevertheless, as a fact, the earlier mosques
+are generally ornamented with plaster designs. The century after
+that of Ibn-Tūlūn is represented by the Azhar, built in 971, of
+which the only certainly original remnants consist in the central
+arcades of the sanctuary, and these are adorned with Kūfy friezes
+of the true Fātimy character, and arabesque ornament, all in
+plaster; in the eleventh we have that of El-Hākim (1012), which was
+decorated in plaster, though few traces of this now remain. After
+these two Fātimy mosques<a id="FNanchor_32"></a><a href=
+"#Footnote_32" class="fnanchor">[32]</a> there follows a wide
+interval before any considerable mosque offers sufficient remains
+to enable conclusions to be drawn. What was formerly visible of the
+Kāmiliya, built by El-Kāmil, nephew of Saladin, in 1224, showed
+plaster decoration; and the simple arabesques of the mosque of
+Edh-Dhāhir Beybars, <em>extra muros</em> (1268), are of the same
+material. But the most perfect example of plaster ornament in Cairo
+is in the mausoleum of Kalaūn, <span class="sc2">A.D.</span> 1284.
+Here the borders of the tall arches supporting what was once the
+dome, the borders of the clerestory windows above, and an infinity
+of other decoration, are wholly of plaster, and nothing more
+delicate and lace-like can be imagined. The bud surrounded by
+leaves again forms a central idea, but it is developed until it is
+scarcely recognizable, and the designs are chiefly characterized by
+a broad treatment of large foliage, worked round into a scroll-like
+continuous pattern. Continuity is a leading quality of these
+designs: it would be difficult to break off at any given point in
+the borders.</p>
+
+<div class="figcenter">
+<figure id="i015"><a href="images/fig015_large.jpg"><img src=
+'images/fig015.jpg' alt='' class="iw7"></a>
+<p class="cp1">FIG. 15.—ROSETTE IN MOSQUE OF SULTAN HASAN.</p>
+
+<p class="cp2">Fourteenth Century.</p>
+</figure>
+</div>
+
+<p>Plaster work continued to be used by En-Nāsir Mohammad, the son
+of Kalaūn, in his two mosques, but this appears to have been nearly
+the last occasion (1318) of the general employment of plaster in a
+considerable mosque. Before the building of Sultan
+Hasan,<span class="pagenum" id="Page_100">[100]</span> in 1356-9,
+stone had begun to take the place of plaster (see <a href=
+"#i014">fig. 14</a>). Sultan Hasan’s mosque is entirely of stone
+facing, though, as we have seen, brick was used for the roofs of
+the arches or transepts, and similar internal surfaces. The
+ornaments, whether geometrical, scroll, or arabesque, are cut in
+stone or marble. The chief border of the portal consists of a bud
+and leaf pattern (<a href="#i008">fig. 8,</a> page 67), obviously
+developed from the simple outline seen in Ibn-Tūlūn, and not nearly
+so complicated as the borders of Kalaūn. Probably stone was a new
+material to the sculptors, and was found less easy to manipulate
+than plaster, and the design was consequently simplified as far as
+possible. The rosettes at the foot of these borders are
+particularly fine; broad in design, yet simple and easily
+disentangled. The leading idea (<a href="#i015">fig. 15</a>) is a
+circle of buds or flowers, joined by intertwined leaves and
+tendrils, and arranged in a radiating pattern round a central whorl
+or star. The pure self-contained arabesque is hardly found in
+Sultan Hasan; but the geometrical pattern arranged in a square is
+seen in a very fine manner. A double line, interlaced, forms the
+border of the square, and, at the interlacings, lines shoot out so
+as to form a broken pentagon, and other lines projected from this
+pentagon meet in the shape of a five-rayed star. The junctions of
+the lines are however somewhat forced; they are not natural
+prolongations, such as we see in the later and more perfect
+developments of the geometrical ornament, but break off at
+unexpected angles.</p>
+
+<div class="figcenter">
+<figure id="i016"><a href="images/fig016_large.jpg"><img src=
+'images/fig016.jpg' alt='' class="iw7"></a>
+<p class="cp1">FIG. 16.—STONE PULPIT IN MOSQUE OF BARKUK.</p>
+
+<p class="cp2">Early Fifteenth Century.</p>
+</figure>
+</div>
+
+<p>The stone pulpit (<a href="#i016">fig. 16</a>), erected in 1483
+by Kāït Bey, in Barkūk’s mosque in the eastern Karāfa, a unique
+work, is among the most splendid examples of stone chiselling that
+can be seen in Cairo. Its shape is triangular, like the wooden
+pulpits to be described hereafter: but, instead of the sides being
+filled with geometrical mouldings containing numerous panels chased
+and inlaid with ivory, the whole of the pulpit is of stone slabs,
+and the geometrical designs and the ornament which fills the
+interstices are all chiselled in stone. The design<span class=
+"pagenum" id="Page_101">[101]</span> springs from a rosette of
+sixteen six-sided panels, the lines of which produced in radiate
+form towards the centre make a star-like ornament, which is filled
+with an arabesque design; and being similarly produced outwards
+cover the whole surface with a network of interlacing lines, which
+eventually combine into other half-rosettes bisected by the edges
+of the pulpit.<a id="FNanchor_33"></a><a href="#Footnote_33" class=
+"fnanchor">[33]</a> The interstices between these interlacing lines
+are filled with admirably drawn floral arabesques consisting of
+little more than a single conventional flower with a simple border
+formed by developments of its extremities or with that of a simple
+rosette flower. The triangular<span class="pagenum" id=
+"Page_102">[102]</span> side is divided from the bannister part by
+a looped double line and a border of delicate floral scrollwork;
+and the bannister portion, or side of the staircase, is of six
+large square panels divided by narrower upright panels of floral
+scrollwork, and a central panel of arabesque. The large panels are
+ornamented, four with arabesque patterns, and two with geometrical
+designs arranged round a central star. The whole side of the pulpit
+is made in about twelve slabs, which are so well joined that only
+in two or three parts are the joints distinctly visible. The canopy
+and other parts are also carved stone.</p>
+
+<div class="figcenter">
+<figure id="i017" class="iw12"><a href=
+"images/fig017.jpg"><img src='images/fig017.jpg' alt=''></a>
+<table class="width-full">
+<tr>
+<td class="width-half cp1">FIG. 17.</td>
+<td class="width-half cp1">FIG. 18.</td>
+</tr>
+</table>
+
+<p class="cp1">GEOMETRICAL ORNAMENTS FROM THE WEKALA OF KAIT BEY
+(<em>c</em>)</p>
+</figure>
+</div>
+
+<p>It is, indeed, in the buildings of the Sultan Kāït Bey (1468-96)
+that both the pure arabesque and the finest geometrical ornament
+are seen in their perfection. This prince of Cairo builders allowed
+no portion of his edifices to be neglected, and the countless
+ornaments which were lavished upon his mosques and other erections
+were all cut in good limestone or marble. The arch of the sanctuary
+in his mosque <em>intra muros</em> is a good example of the
+richness of this ornamentation. It is about 30 feet from the floor
+to the keystone, and is placed in a square wall about 39 feet high.
+Nine courses of plain stone, alternately coloured red, form the
+pier of the arch, on which is a capital formed of three tiers of
+stalactites. From this the arch springs with a slight projection
+beyond the capital, owing to its incurved horse-shoe form. The arch
+is formed by twenty-three courses of stone, on either side,
+alternately red and white, and a red keystone. Each of the white
+stones is carved with arabesque and geometrical patterns, arranged
+alternately. The arabesques are of a prevailing type, consisting of
+a trefoil or fleur-de-lis surrounded by leaves very beautifully
+interlaced. The design is, however, varied, and I doubt if any two
+stones would be found to tally exactly. The geometrical patterns
+consist of interlacing lines, forming irregular pentagons and
+hexagons, with little apparent regard to symmetry, though they are
+all related to one another in the general plan. The arch is
+enclosed in a raised moulding, which forms a loop at<span class=
+"pagenum" id="Page_104">[104]</span> the top, in which is carved a
+whorl of eight rays. The spandrils of the arch are filled with a
+bold arabesque design, enclosed in trifoliate borders, and in the
+centre of each is a circular medallion inscribed with the name and
+titles of the Sultan and a prayer for his success, arranged in
+three lines. These medallions are frequently seen in Cairo, and are
+generally filled with the name of Kāït Bey, though other Sultans
+adopted the same method of putting a seal on their works. It is
+interesting to note that a similar arrangement of the Sultan’s
+titles within a medallion is seen on the fourteenth century glass
+lamps, and also on the gold coins of the Burgy or Circassian
+Mamlūks. A broad band of Arabic inscription, from the Korān,
+divided by arabesque panels, forms a frieze at the top, over which
+is a carved cornice. The whole effect of this arch, and of all the
+internal decoration of this beautiful little mosque, is extremely
+rich and finished: and it would be hard to point out a space
+unoccupied by some delicate design.</p>
+
+<div class="figcenter">
+<figure id="i019" class="iw3"><a href="images/fig019.jpg"><img src=
+'images/fig019.jpg' alt=''></a>
+<p class="cp1">FIG. 19.—ARCHED ORNAMENT OF THE WEKALA OF KAIT BEY.
+⅐th.</p>
+
+<p class="cp2">Fifteenth Century.</p>
+</figure>
+</div>
+
+<p>Among the buildings of Kāït Bey, none is more fruitful in
+designs chiselled in stone than his Wekāla or Khān, on the south
+side of the Azhar mosque. This magnificent building was only a sort
+of hotel for travelling merchants, but its external ornamentation
+is superb, and in no single building in Cairo do we find so many
+varieties of arabesque and geometrical design in such perfect
+preservation. The Wekāla consists of a spacious rectangular court,
+surrounded by lodgings for the merchants and their beasts.
+Unhappily, the interior is in confusion, and has long been
+deserted: heaps of crumbling stone and rubbish cumber the court,
+which was once no doubt surrounded by walls as carefully built and
+ornamented as the exterior. The front, however, facing the Azhar,
+is fortunately in a fine state of preservation, and deserves a
+thorough study. When I was in Cairo in 1883, I took casts of the
+ornament of this front, and was fortunately able to bring back
+paper squeezes, fortified with layers of gipsum, of every distinct
+ornament on the whole façade. From these squeezes plaster casts
+have been made,<span class="pagenum" id="Page_105">[105]</span> and
+a set of these are exhibited in the gallery over the architectural
+court of the South Kensington Museum. The difficulty of obtaining
+every variety of design was less than it would have been in a work
+of an earlier date; for by the time of Kāït Bey the beauty of
+uniformity had been learnt, and the honest custom of the old
+workmen, never to repeat a design, had given place to a decorative
+system which while it encouraged variety approved of a certain
+symmetry and recurrence in the patterns. The whole number of
+designs in the long front of the wekala of Kāït Bey does not exceed
+twenty-two, if the end and doorway are not reckoned, although round
+the shops which run along the ground-floor of the façade there are
+no fewer than 120 panels of ornament.</p>
+
+<p>The front of the Wekāla is decorated only on the ground-floor;
+the upper stories, save for small windows, are left unadorned. The
+ground-floor, however, makes amends for the shortcomings of the
+superstructure by its wealth of ornament. It consists of a row of
+thirteen shops, divided between the seventh and eighth by a
+splendid arched gateway,<a id="FNanchor_34"></a><a href=
+"#Footnote_34" class="fnanchor">[34]</a> the finest feature in a
+singularly fine building. This gateway is set in a recess, the
+jambs of which are coloured in the usual red and white stripes. The
+arch is broad, giving an opening of about eight feet, and pointed,
+and the edge is composed of stalactites in three tiers, with their
+surfaces carved with arabesque designs. Round the facing, above,
+runs a beautiful scroll border, like a wreath of roses, which forms
+a loop above the keystone, within which is inscribed the name of
+God. The same scroll border frames the spandrils. The recess in
+which this arch is set is brought back to the face of the front by
+vaulting; but in this case, instead of the common rows of
+stalactites, or simple arching, the depth being considerable, the
+vaulting is effected by a deep trefoil arch, of which the vault is
+formed by three smaller bays supporting<span class="pagenum" id=
+"Page_106">[106]</span> an upper bay. The side bays below are
+filled with stalactites, which seem to constitute natural corbels
+on which the superstructure rests; and the surfaces of the
+stalactites and the spare spaces at their sides are covered with
+arabesques. The base of the upper bay is worked with little shell
+patterns, and its back is ornamented with a sparse scroll ribbon,
+resembling somewhat the rose border below, arranged in zigzags. The
+alternate courses of the stones forming the edge of the upper bay
+are also carved, and the whole trefoil outline of the vaulting is
+enclosed in a double line, looped at intervals, outside which the
+spandrils are filled with arabesque designs.</p>
+
+<div class="figcenter">
+<figure id="i020"><a href="images/fig020_large.jpg"><img src=
+'images/fig020.jpg' alt='' class="iw7"></a>
+<p class="cp1">FIG. 20.—GEOMETRICAL ORNAMENT OF THE WEKALA OF KAIT
+BEY. ⅑th.</p>
+
+<p class="cp2">Fifteenth Century.</p>
+</figure>
+</div>
+
+<p>The shops on either side of the great gateway are not unlike
+most other shops in Cairo. They are uniform recesses about six or
+seven feet high, and four to five wide; but they are surrounded
+with ornaments such as few other shops in Cairo can boast. Over the
+shop, forming a species of eave or fringe to the recess, is a
+wooden panel (<em>a</em>) bearing the name of Kāït Bey, in
+medallion form, with other carved or lattice panels, most of which
+have been destroyed or stolen. One or two are now in the South
+Kensington Museum. Over each shop is first an oblong panel
+(<em>b</em>) of shallow arabesque carving, the full width of the
+recess forming the shop, and rather over two feet high. At each
+side (<a href="#i017">figs. 17, 18</a>) of this, dividing it from
+the similar panel over the next shop, is a narrow upright
+geometrical panel (<em>c</em>). Over each of the horizontal panels
+is a sort of arch (<em>d</em>), composed of nine small upright
+panels, (<a href="#i019">fig. 19</a>) arranged so as to form an
+arch on the lower side and a straight line at the top, of the same
+width as the horizontal panel below. The four side panels (<em>e,
+f, g, h</em>) are counterparts each of the opposite one, though
+each is different from its neighbour, and the same four panels,
+with their counterparts or reverses, do duty for all the arched
+panels (except two or three which are covered with a continuous
+arabesque device, instead of being thus subdivided into nine
+pieces); the keystones (<em>i, k</em>) however are not identical
+over the several shops, but three different patterns
+are<span class="pagenum" id="Page_108">[108]</span> used. Between
+each of these arched panels and the next is a circular medallion
+(<em>e</em>) with the name and titles of Kāït Bey, of the kind
+already described. The subjoined outline will explain the
+arrangement:—</p>
+
+<div class="figcenter">
+<figure id="i021"><a href="images/fig021.jpg"><img src=
+'images/fig021.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 21.—ELEVATION OF PART OF THE SHOP-FRONTS OF THE
+WEKALA OF KAIT BEY.</p>
+</figure>
+</div>
+
+<p>At the right-hand corner of the Wekāla is a Sebīl or fountain
+with two large grated windows, one at the front, the other round
+the corner, each set in a border of wooden scroll-work, and
+surmounted by arabesque panels; and at the corner an engaged column
+is hewn in the wall, with a round base composed of two drums like a
+dice-box, a shaft of ten drums, carved with arabesque and
+geometrical patterns and an Arabic inscription, and a stalactite
+capital; and above and on either side of the capital are
+geometrical panels (<a href="#i020">fig. 20</a>) in the wall.<a id=
+"FNanchor_35"></a><a href="#Footnote_35" class=
+"fnanchor">[35]</a></p>
+
+<div class="figcenter">
+<figure id="i022"><a href="images/fig022_large.jpg"><img src=
+'images/fig022.jpg' alt='' class="iw6"></a>
+<p class="cp1">FIG. 22.—ARABESQUE ORNAMENT OF WEKALA OF KAIT BEY.
+⅑th.</p>
+
+<p class="cp2">Fifteenth Century.</p>
+</figure>
+</div>
+
+<p>Between the Sebīl and the shops is a small doorway, leading up
+to the school which surmounts the fountain. This little door has a
+square above it marked out by a double line, looped at intervals,
+and subdivided into nine rectangular compartments<span class=
+"pagenum" id="Page_110">[110]</span> by the same means, each of
+which has its geometrical device, matching on opposite sides,
+except one in the centre, which is occupied by a small grated
+window. Over this square is a splendid rosette (<a href=
+"#i025">fig. 25</a>) of arabesque ornament, enclosed by four
+spandrils of the same pattern. Beyond the sebīl, the portion of the
+Wekāla which stands back from the street is occupied by another
+door, surmounted by a trefoil vaulted arch, over which is a
+meshrebīya window.</p>
+
+<div class="figcenter">
+<figure id="i023" class="iw13"><a href=
+"images/fig023.jpg"><img src='images/fig023.jpg' alt=''></a>
+<table class="width-full">
+<tr>
+<td class="width-half cp1">FIG. 23.</td>
+<td class="width-half cp1">FIG. 24.</td>
+</tr>
+</table>
+
+<p class="cp1">GEOMETRICAL ORNAMENTS OF THE WEKALA OF KAIT BEY.
+⅑th.</p>
+</figure>
+</div>
+
+<p>Many of the ornaments of this noble building are engraved in
+this volume. The illustration (<a href="#i019">fig. 19</a>) shows
+the arch (<em>d</em>,) with its nine panels, seven of which exhibit
+the true self-contained arabesque, complete within the space it
+occupies, and formed by<span class="pagenum" id=
+"Page_112">[112]</span> the knot-like interlacing of two loops,
+ending in trefoil heads; whilst two show the characteristic
+geometrical design of Kāït Bey, triangular (essentially, though
+with a fourth angle in the base) figures linked together, and the
+intervals ornamented with cinquefoils. The two varieties of side
+panels (<em>c</em>) are shown in <a href="#i017">figs. 17 and
+18.</a> Some of the larger ornaments, e.g., half of an arabesque
+panel and half the geometrical design over the corner column, are
+shown in <a href="#i020">figs. 20</a> and <a href="#i022">22,</a>
+where figures of four sides are linked together and ornamented with
+stars. The rosette over the small door and two small upright panels
+adjoining it are shown in <a href="#i023">figs. 23-5,</a> and two
+examples of geometrical and arabesque patterns from the same façade
+appear in <a href="#i026">figs. 26</a> and <a href=
+"#i027">27.</a></p>
+
+<div class="figcenter">
+<figure id="i025"><a href="images/fig025_large.jpg"><img src=
+'images/fig025.jpg' alt='' class="iw7"></a>
+<p class="cp1">FIG. 25.—ROSETTE OF THE WEKALA OF KAIT BEY.</p>
+
+<p class="cp2">Fifteenth Century.</p>
+</figure>
+</div>
+
+<p>The stone and plaster work of Cairo is, as has been seen,
+chiefly surface decoration, of an even or flat tone, which has
+little or no constructive meaning, and seems to be more or less
+derived from the patterns which were used for the decoration of
+textile fabrics. The stalactite or pendentive bracketing, however,
+is strictly constructive, and forms a strongly marked
+characteristic of Saracenic art (see <a href="#i010">fig. 10</a>).
+Its first and principal use is for masking the transition from the
+square of the mausoleum to the circle of the dome. “In their domes
+the Arabs adopted, and improved on, the constructional expedient
+for vaulting over the space beneath, and passing from a square
+apartment to the circle of the dome, used by both Byzantines and
+Persians. The church of St. Sophia, at Constantinople, presents
+fine examples of its Byzantine form; but in later edifices of that
+style, constructional difficulties seem to have confined the
+architects to small domes. The buildings of the Sassanian dynasty
+also contain pendentives.<a id="FNanchor_36"></a><a href=
+"#Footnote_36" class="fnanchor">[36]</a> . . The Arabs, with their
+peculiar faculty for cutting away all superfluous
+material,<span class="pagenum" id="Page_113">[113]</span> naturally
+arched the overlapping stones that filled up the angles of the
+building; and, by using <em>pointed</em> arches, overcame the
+difficulty of the Byzantine architects to which I have alluded. The
+pendentive was speedily adopted by the Arabs in Egypt in a great
+variety of shapes, and for almost every conceivable architectural
+and ornamental purpose: to effect the transition from the recessed
+windows to the outer plane of a building; and to vault, in a
+similar manner, the great porches of mosques, which form so grand a
+feature characteristic of the style. All the more simple woodwork
+of dwelling-houses was fashioned<span class="pagenum" id=
+"Page_114">[114]</span> in a variety of curious patterns of the
+same character; the pendentive, in fact, strongly marks the Arab
+fashion of cutting off angles and useless material, always in a
+pleasing and constructively advantageous manner.”<a id=
+"FNanchor_37"></a><a href="#Footnote_37" class=
+"fnanchor">[37]</a></p>
+
+<div class="figcenter">
+<figure id="i026"><a href="images/fig026_large.jpg"><img src=
+'images/fig026.jpg' alt='' class="iw7"></a>
+<p class="cp1">FIG. 26.—ARABESQUES OF THE WEKALA OF KAIT BEY
+(⅛th).</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i027"><a href="images/fig027_large.jpg"><img src=
+'images/fig027.jpg' alt='' class="iw8"></a>
+<p class="cp1">FIG. 27.—GEOMETRICAL ORNAMENT OF THE WEKALA OF KAIT
+BEY (⅛th).</p>
+</figure>
+</div>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_115">[115]</span><a id=
+"c04"></a>CHAPTER IV.</h2>
+
+<p class="sch1">MOSAIC.</p>
+
+<p class="nind"><span class="sc">Among</span> the modes of
+decorating specially honourable parts of the mosque or house, none
+was more esteemed in Cairo than mosaic work, and none was practised
+with greater success. By mosaic, we understand the combination of
+small pieces of hard substances of different colours, to form a
+pattern for a wall or pavement. As hard substances are numerous,
+and the manner of combining them is susceptible of considerable
+variety, the term mosaic embraces a wide range of artistic
+processes. Of these the most familiar is the glass mosaic of
+Byzantium and Ravenna, in which cubes of glass, rendered opaque,
+and coloured with various tints, are so arranged as to represent
+figures of saints. Another kind of mosaic, scarcely less
+celebrated, is the well-known tesselated pavement of the Romans, of
+which there are many examples in England, where the pattern is
+formed by the combination of cubes and other small pieces of
+marbles of different colours. There is also a sectile mosaic,
+called Florentine, where the coloured marble is used as a sort of
+veneer, and backed by stouter but common material. The “Opus
+Alexandrinum” consisted of small geometrical pieces of coloured
+marbles let into a marble ground.</p>
+
+<p>Saracenic mosaic, in Egypt, is a combination of the tesselated
+method with the larger proportions of sectile mosaic; but it does
+not exactly coincide with any of the usual European processes. In
+its most familiar application, as a dado about<span class="pagenum"
+id="Page_116">[116]</span> four feet high, running along the wall
+of the sanctuary of a mosque, or round a principal room in a
+palace, it consists of upright slabs of marble of different colours
+and different widths, so arranged as to form a series of
+rectangular panels, divided and framed by narrower bands. Thus the
+tomb-mosque of El-Ghōry, built in 1503, has a niche inlaid with
+blue, yellow, and red marbles, in zigzag stripes, while the double
+dado on either side of it, running the whole width of the
+south-east wall, in two lines, one high up, the other low, is of
+red, yellow, and black marbles, arranged in square or oblong
+panels, the black forming the pattern, and the red and yellow the
+centres and borders of the design. The niche of Kalaūn has black,
+red, and yellow mosaic, picked out with little spots of blue tile.
+It is not uncommon to find fragments of tile thus used in
+combination with marble or earthenware: there are two specimens of
+this curious style in the South Kensington Museum (1499,
+1499<em>a</em>). A more usual mode of varying the monotony of the
+tall slabs of marble and their narrower margins was by introducing
+between them a border of tesselated work, made of small cubes of
+marbles of various colours, mixed with red pottery or blue enamel,
+and frequently with mother-of-pearl. The contrasts between the
+different colours of marble, pottery, and glass, and the
+iridescence of the mother-of-pearl, give this peculiar class of
+mosaic a beauty of its own, which will bear comparison with any
+other kind of inlay. A fine example, from the St. Maurice
+collection, is now in the South Kensington Museum, and is engraved
+in <a href="#i028">fig. 28.</a> It consists of three panels,
+enclosed in borders; the central panel is of rich porphyry,
+bordered with white and black marble, and with a geometrical edging
+of mother-of-pearl filled in with red pottery and yellow marble;
+the side panels are of streaked red marble within similar borders;
+and the whole is enclosed within a rim of greenstone. This triple
+panel was, no doubt, one of a series which formed the dado of a
+mosque or palace. Dados of this kind of mosaic are found in the
+mausoleums<span class="pagenum" id="Page_118">[118]</span> of Kāït
+Bey and El-Ashraf, in the eastern cemetery, and beautiful examples
+of red marble inlaid with blue glass and mother-of-pearl are seen
+in the ruined sanctuary of the mosque of El-Māridāny.</p>
+
+<div class="figcenter">
+<figure id="i028" class="iw12"><a href=
+"images/fig028.jpg"><img src='images/fig028.jpg' alt=''></a>
+<p class="cp1">FIG. 28.—MOSAIC DADO (¹⁄₂₀th).</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>This is the specially characteristic mosaic of Cairo, and it
+will be at once recognized as distinct from the mosaics of Europe.
+It is made of natural marbles and mother-of-pearl, with only a
+sprinkling of such manufactured substances as pottery or glass
+enamel; it is arranged in geometrical designs, with no attempt at
+representing human or other figures; and it is fixed in a plaster
+bed, and not inlet, like the “Opus Alexandrinum,” into a marble
+matrix. These are the salient points of the Saracenic mosaic; and
+the minuteness and delicacy of the tesserae, the intricacy of the
+designs, and the lustre of the mother-of-pearl, combine to produce
+an exquisitely beautiful effect.</p>
+
+<div class="figcenter">
+<figure id="i029"><a href="images/fig029.jpg"><img src=
+'images/fig029.jpg' alt='' class="iw19"></a>
+<p class="cp1">FIG. 29.—MOSAIC PAVEMENT (¹⁄₁₅th).</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>Precisely similar mosaics are found about the tribunes of the
+Coptic churches, and there is every reason to believe that the art
+is essentially a Christian one, preserved by the Copts in Egypt
+from very early times, while in the west it was suffered to die
+out<span class="pagenum" id="Page_119">[119]</span> and be
+supplanted by the Byzantine glass mosaic. Eusebius’s mention of
+variegated marbles on the walls of the church of St. Saviour at
+Jerusalem, in <span class="sc2">A.D.</span> 333, seems to point to
+this form of mosaic, which would thus be traced back to the fourth
+century. Surviving specimens are, however, mainly found in Egypt;
+and the chief example in Europe is the apse of Torcello, the
+mosaics of which closely resemble the niche of a mosque or the
+tribune of a Coptic church at Cairo.<a id=
+"FNanchor_38"></a><a href="#Footnote_38" class=
+"fnanchor">[38]</a></p>
+
+<p>The manner in which mosaics of this description were put
+together and set up against the wall was as follows:—Each piece of
+marble or tessera of this or other material, having been bevelled
+from face to back (as below), the whole mosaic is laid out on the
+ground, face downwards, and strong plaster is poured over it,
+which, entering the interstices (shaded in the cut) at the back,
+binds them together into one slab. Pieces of reed are then laid
+across the wet surface to strengthen it, and more plaster is poured
+on, till the thickness is about two inches. Large surfaces can thus
+be bound together, lifted, and plastered to the wall, without
+breakage. The bevelling of the edges not only gives the plaster a
+grip on the tesserae, but saves labour in fitting the pieces
+together: for instead of the whole of the sides having to
+be<span class="pagenum" id="Page_120">[120]</span> exactly parallel
+and accurately fitted to the adjoining side, only the faces and the
+top edges of the tesserae and slabs have to be ground, so as to
+form accurate junctures at the front alone; and the backs and sides
+are left quite rough. Tiles are bevelled in the same manner, and
+this constitutes a general distinction between Eastern and European
+tiles, for the latter are hardly ever bevelled. The Cairo mosaic
+worker, who gave Mr. Wild the foregoing account of the method of
+his art, also stated that no drawings were as a rule made
+beforehand, but the mosaic was constructed out of the artist’s head
+as he arranged it on the ground.</p>
+
+<div class="figcenter">
+<figure id="i030"><a href="images/fig030.jpg"><img src=
+'images/fig030.jpg' alt='' class="iw16"></a>
+<p class="cp1">FIG. 30.—MODE OF BEVELLING MOSAICS.</p>
+</figure>
+</div>
+
+<p>Two spandrils of a niche in the South Kensington Museum present
+some peculiarities in colour and materials (884, 884<em>a</em>, St.
+Maurice). The ground is composed of red pottery, formed from
+powdered water jars; the geometrical pattern is marked out by lines
+of mother-of-pearl, and marble and blue enamel is restricted to the
+small points which form the centres of the geometrical systems; the
+edging of the whole is of greenstone.</p>
+
+<p>Most of the Mamlūk mosques of Cairo have mosaics in their
+niches, and in the dado on either side, but the mosaic is not
+always of the rich and intricate character of the panel engraved in
+<a href="#i028">fig. 28.</a> In many of the mosques, notably those
+of El-Ghōry and Sultan Hasan, the mother-of-pearl and pottery are
+omitted, and the mosaic consists of marble slabs and borders, in
+two or three colours. In Sultan Hasan the dado is of black and
+white slabs, simply arranged—</p>
+
+<div class="figcenter">
+<figure id="ipg120" class="iw20"><a href=
+"images/ipg120.jpg"><img src='images/ipg120.jpg' alt=''></a>
+</figure>
+</div>
+
+<p>The pulpit is also constructed of variegated marbles, arranged
+in medallions, in a European style, with a much less pleasing
+effect than the usual wooden panelling; and a column is also formed
+of alternate drums of yellow, white, and black marble.</p>
+
+<p><span class="pagenum" id="Page_121">[121]</span>The mosaic
+pavements of Cairo are of a somewhat different character from those
+employed for wall decoration. Naturally such substances as
+mother-of-pearl and glass are not suited to pavements, where they
+would offer very inadequate resistance to the feet. The pavements
+are therefore generally composed entirely of marble tesserae (and
+sometimes red earthenware), of larger size than the delicate pieces
+that are included in wall mosaics, and arranged so as to form
+geometrical patterns within the space of about two feet square.
+Eighteen squares of this description are preserved in the South
+Kensington Museum, of which two are engraved in <a href=
+"#i029">figs. 29</a> and <a href="#i031">31.</a> Each square is
+made separately, and the pieces are set, not in plaster, but in a
+composition of lime and clay, impervious to water: the clay must be
+unburnt, just as it comes from the pit. A slab (no. 490-1872) in
+the South Kensington Museum is of this composition, inlaid with
+porphyry, glass, and greenstone. The most common application of
+mosaic pavements is to the durkā‘a, or lower floor of a room, which
+faces the entrance, and commonly contains a fountain. Mr. Wild has
+preserved drawings of several of these mosaic fountain floors,
+which would well repay reconstruction in England.<a id=
+"FNanchor_39"></a><a href="#Footnote_39" class=
+"fnanchor">[39]</a></p>
+
+<p>The marbles most commonly employed in Cairo mosaics are the red,
+yellow, black, and white varieties, and the red is sometimes very
+beautifully streaked. It has been generally supposed that these
+were imported ready polished from Italy, but there is evidence that
+this was by no means the invariable custom. Nāsir-i-Khusrau, who
+visited Egypt in the eleventh century, in the reign of the Fātimy
+Khalif El-Mustansir, states that marbles were very common at Ramla,
+near Alexandria, and that the walls of most of the houses there
+were coated with marble plaques, artistically inlaid, and carved
+with arabesques. The slabs were cut with a toothless saw
+and<span class="pagenum" id="Page_122">[122]</span> Mekka sand, and
+the colours of the marbles were red, green, black, white, mottled,
+&amp;c.<a id="FNanchor_40"></a><a href="#Footnote_40" class=
+"fnanchor">[40]</a> The traveller does not state where the marbles
+came from, in the rough; but there are certainly no marble quarries
+near Ramla, unless the ancient temples and other buildings of Roman
+and Christian times were utilized in this manner. The Mohammadan
+builders were in the habit of making raids upon the Christian
+remains of Egypt whenever they were in need of materials for a new
+mosque. We read how Beybars, when he was building his mosque
+outside the north gate of Cairo, in 1268, collected marbles from
+all the towns of Egypt, where no doubt the churches still retained
+something of their ancient splendour; while the sanctuary was lined
+with marbles and carved wood brought from the fortress of Jaffa,
+which he had just captured at the point of the sword. The majority
+of the columns used in mosques appear to have been stolen from
+earlier buildings, and the ancient Egyptian monuments were laid
+under contribution. ‘Abd-el-Latīf, the physician of Baghdād, who
+travelled in Egypt in the year 1200 <span class="sc2">A.D.</span>,
+tells us how attempts were made to pull down the granite of the Red
+Pyramid of Menkara, at Gīza, for building<span class="pagenum" id=
+"Page_123">[123]</span> purposes, so early as the reign of the
+Khalif El-Mamūn, in the beginning of the third century of the
+Flight; and though the attempt failed, and the workmen declared
+that they could make no impression upon the huge mass, the practice
+of borrowing stone from the pyramids and temples of ancient Egypt
+still continued. Hieroglyphic inscriptions are occasionally found
+on blocks of black diorite and other stones in the mosques,
+<em>e.g.</em> of El-Gāwaly. It is therefore not improbable that the
+Ramla marble-works were supplied, at least in part, from the older
+monuments of Egypt, though they may have been reinforced by
+importation.</p>
+
+<div class="figcenter">
+<figure id="i031"><a href="images/fig031.jpg"><img src=
+'images/fig031.jpg' alt='' class="iw17"></a>
+<p class="cp1">FIG. 31.—MOSAIC PAVEMENT (¹⁄₁₅th).</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The red porphyry, or <em>rosso antico</em>, the green-stone or
+serpentine, and the black diorite and slate, which occur in
+mosaics, are quarried in the mountains of the Arabian desert,
+between the Nile and the Red Sea; and alabaster, which was
+sparingly used in mediaeval times, was found near Asyūt, on the
+Nile.</p>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_124">[124]</span><a id=
+"c05"></a>CHAPTER V.</h2>
+
+<p class="sch1">WOOD-WORK.</p>
+
+<p class="nind"><span class="sc">When</span> we remember how little
+wood grows in Egypt, the extensive use made of this material in the
+mosques and houses of Cairo appears very remarkable. In mosques,
+the ceilings, some of the windows, the pulpit, lectern or Korān
+desk, tribune, tomb-casing, doors, and cupboards, are of wood, and
+often there are carved wooden inscriptions, and stalactites of the
+same material leading up to the circle of the dome. In the older
+houses, ceilings, doors, cupboards, and furniture, are made of
+wood, and carved lattice windows, or meshrebīyas, abound. In a cold
+climate, such employment of the most easily worked of substances is
+natural enough; but in Egypt, apart from the scarcity of the
+material, and the necessity of importing it,<a id=
+"FNanchor_41"></a><a href="#Footnote_41" class="fnanchor">[41]</a>
+the heat offers serious obstacles to its use. A plain board of wood
+properly seasoned may keep its shape well enough in England, but
+when exposed to the sun of Cairo it will speedily lose its accurate
+proportions; and when employed in combination with other pieces, to
+form windows or doors, boxes or pulpits, its joints will open, its
+carvings split, and the whole work will become unsightly and
+unstable. The leading characteristic of Cairo wood-work is its
+subdivision into numerous panels; and this principle is obviously
+the result of climatic considerations, rather than any doctrine
+of<span class="pagenum" id="Page_125">[125]</span> art. The only
+mode of combatting the shrinking and warping effects of the sun was
+found in a skilful division of the surfaces into panels small
+enough, and sufficiently easy in their setting, to permit of slight
+shrinking without injury to the general outline. The little panels
+of a Cairo door or pulpit may expand without encountering enough
+resistance to cause any cracking or splitting in the surrounding
+portions, and the Egyptian workmen soon learned to accommodate
+themselves to the conditions of their art in a hot climate.</p>
+
+<div class="figcenter">
+<figure id="i032"><a href="images/fig032.jpg"><img src=
+'images/fig032.jpg' alt='' class="iw13"></a>
+<p class="cp1">FIG. 32.—CARVED PANEL OF PULPIT (⅑th).</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>Wood is the prevailing material employed for the fittings and
+furniture of a mosque. The furniture is, however, of a much more
+restricted character than that of a Christian church or cathedral.
+Where the ministers and congregation sit cross-legged on the floor,
+and in a service where there is no music and therefore no choir or
+organ, we cannot look for carved chancel-stalls,
+<em>misereres</em>, choir-screens, organ-lofts, or other points of
+decoration in our more ornate churches. The niche towards Mekka
+takes the place of our altar, and though it is sumptuously adorned
+with marbles and mosaic, it does not afford the opportunity for
+wood-carving which is found in our chancels. Nevertheless, the
+Mohammadan church has its points of wood-carving. These are the
+pulpit, the lectern or Korān desk, the doors of the recesses or
+cupboards which contain the various objects required by the
+ministers of the mosque; and although there is no choir-screen, in
+the splendid sense familiar in our cathedrals, the<span class=
+"pagenum" id="Page_126">[126]</span> sanctuary or eastern arcade of
+the mosque is sometimes railed off from the court by a turned
+wooden screen. And as many of the mosques of Cairo have chapels,
+where the founder or members of his family are interred, the Muslim
+artist would sometimes employ his skill in carving the wooden
+casing of the tomb with elaborate arabesques, arranged in intricate
+panels.</p>
+
+<div class="figcenter">
+<figure id="i033"><a href="images/fig033.jpg"><img src=
+'images/fig033.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 33.—CARVED PANEL OF PULPIT (⅙th).</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The form of a Cairo pulpit, termed in Arabic <span class=
+"arabic">منبر</span> <em>minbar</em> (pronounced <em>mimbar</em>),
+is seen in <a href="#i034">fig. 34.</a> It represents a pulpit, now
+in the South Kensington Museum, which bears the name and titles of
+the Mamlūk Sultan Kāït Bey, who reigned in the last third of the
+sixteenth century, but the precise mosque from which it came is not
+known. As one Sultan would sometimes place a pulpit in the mosque
+of another, and Kāït Bey was especially generous in this kind of
+restoration, it is possible that the pulpit did not come from any
+of his own mosques; and the tradition is that it belonged to that
+of El-Muayyad, which, however, has a pulpit of its own, bearing its
+founder’s name. Wherever it originally stood, the pulpit is an
+admirable example of the typical Cairene <em>mimbar</em>. It
+consists of a staircase, entered through folding doors, and
+enclosed by high sides, and terminating at the top in a sort of
+niche, surmounted by stalactites and a copper cupola. The position
+of the pulpit was always on the left side of the niche, as you look
+out towards the court, and the doors were turned to face the
+congregation.<span class="pagenum" id="Page_128">[128]</span> The
+<em>mimbar</em> is only required during the Friday (or Muslim
+Sunday) prayers, when the weekly sermon is preached by the Imām or
+Khatīb of the mosque, who is a layman selected from the people of
+the neighbourhood, and in no special sense a priest. Standing on
+the topmost step but one, and holding in his right hand a long
+wooden sword, which is kept for the purpose behind the doors of the
+pulpit, he delivers the oration of the Friday Service. The reason
+for the position on the second step is rather curious: Mohammad the
+Prophet always preached from the top step, and the Khalifs, his
+successors, modestly descended each a step lower than the
+preceding, in order to reserve the post of honour to the most
+worthy. But when two or three steps had thus been descended, it was
+discovered that the process if continued long enough would land the
+preacher in the bowels of the earth, and it was accordingly decided
+to reserve the top step for Mohammad himself, and to preach from
+the next lower on all future occasions.</p>
+
+<div class="figcenter">
+<figure id="i034"><a href="images/fig034.jpg"><img src=
+'images/fig034.jpg' alt='' class="iw8"></a>
+<p class="cp1">FIG. 34.—PULPIT OF SULTAN KAIT BEY.</p>
+
+<p class="cp2">Fifteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The ornament of the pulpit is generally elaborate. Some of the
+more modern pulpits are indeed very plain, and constructed merely
+of panelled and painted wood. On the other hand, one
+<em>mimbar</em>, erected by Kāït Bey in the mosque of Barkūk, in
+the eastern burial-ground of Cairo, is of solid stone slabs,
+admirably carved with arabesques and geometrical designs (<a href=
+"#i016">fig. 16</a>). But most of the pulpits are like that of Kāït
+Bey, engraved in <a href="#i034">fig. 34,</a> and are covered with
+carving and inlaid with ivory and ebony. The amount of work
+involved in the complicated arrangement of little panels, each of
+which is supported in a frame of wood beading, which is itself
+chiselled and sometimes made in two or three envelopes, must have
+been very considerable; and the carving of the panels with
+arabesques of varying designs, no two of which are alike, in work
+of the best period, must have involved incredible toil and
+ingenuity. It may be taken as a rule, which is exemplified in most
+arts, that the older the work is, the simpler, freer, and more
+varied it is; while<span class="pagenum" id="Page_130">[130]</span>
+complexity, intricacy, and a tendency to repetition, are signs of a
+later style.</p>
+
+<div class="plate">
+<div class="igrp2">
+<div class="figcenter">
+<figure id="i036" class="iw18"><a href=
+"images/fig036.jpg"><img src='images/fig036.jpg' alt=''></a>
+<p class="cp1">FIG. 36.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i037" class="iw18"><a href=
+"images/fig037.jpg"><img src='images/fig037.jpg' alt=''></a>
+<p class="cp1">FIG. 37.</p>
+</figure>
+</div>
+
+<p class="clear">
+</p>
+</div>
+
+<div class="igrp2">
+<div class="figcenter">
+<figure id="i035" class="iw18"><a href=
+"images/fig035.jpg"><img src='images/fig035.jpg' alt=''></a>
+<p class="cp1">FIG. 35.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i038" class="iw18"><a href=
+"images/fig038.jpg"><img src='images/fig038.jpg' alt=''></a>
+<p class="cp1">FIG. 38.</p>
+</figure>
+</div>
+</div>
+
+<p class="cp1 clear">CARVED PANELS OF LAGIN’S PULPIT, ONCE IN THE
+MOSQUE OF IBN-TULUN. A.D. 1296.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</div>
+
+<p>The specimens engraved in <a href="#i035">figs. 35-43</a> will
+convey a fairly complete conception of the character of this
+typically Cairene mode of carving. The panels figs. 35-40
+originally formed part of a pulpit which the Mamlūk Sultan Lāgīn
+erected in the mosque of Ibn-Tūlūn in the year 1296 <span class=
+"sc2">A.D.</span>, when he undertook the restoration of this
+ancient mosque. In the present day there is a very inferior pulpit
+there, and this must have been introduced when the fine work of
+which these panels formed part was taken away, by whom we do not
+know. The removal must however have been effected in comparatively
+recent times, for when Mr. James Wild, the present Curator of Sir
+John Soane’s Museum, was in Cairo, about 1845, the older pulpit was
+still standing; and he made a drawing of the geometrical
+arrangement of the panels, which is still preserved in his
+sketch-books, and which was turned to advantage some years ago,
+when the fragments of the pulpit sides were acquired by the South
+Kensington Museum from M. Meymar. This sketch shows that the side
+included one large circular geometrical arrangement (comprising
+eight large octagonal panels, carved alternately with stars and
+arabesques round a central star), and four half-systems of the same
+plan, two of which were placed so that their diameters coincided
+with the edge of the balustrade or border of the pulpit, while the
+other two touched the back. The balustrade was of open lattice
+work, something like the narrow open panels in the Kāït Bey pulpit
+engraved in <a href="#i034">fig. 34,</a> and the length of the base
+and back of the triangular portion of the side, occupied by the
+carved panels, was 15 feet 9 inches. The doors were filled with
+carved geometrical panels, with the usual arrangement of two
+horizontal panels, filled with Arabic inscriptions, one above and
+one below each door, and a longer inscription on the lintel. The
+pulpit did not arrive in England in its original shape, but
+consisted merely of a collection of loose panels, which Mr. Wild,
+with the help of his sketch, arranged in a<span class="pagenum" id=
+"Page_131">[131]</span> square, which now hangs on the walls of the
+Museum (no. 1051); with the exception of a few pieces which
+remained over, and some of the horizontal panels, two of which
+contain the name of the Sultan Lāgīn and the date of the erection
+of the pulpit, <span class="sc2">A.H.</span> 696, while others are
+filled with scroll-work. Two of these are engraved in <a href=
+"#i039">figs. 39</a> and <a href="#i040">40;</a> one has an
+arabesque scroll, and the other the inscription <span class=
+"arabic">الملك المنصور حسام الدنيا والدين لاجين</span> “The
+victorious king, sword-blade of the State and Church Lāgīn.” When
+the Museum acquired the magnificent collection of M. de St.
+Maurice, in 1884, I was able to identify the fine panels which the
+late owner had fitted into the frame-work of a modern and
+ill-proportioned door as portions of the same pulpit, and some of
+these are engraved in <a href="#i037">figs. 37</a> and <a href=
+"#i038">38.</a></p>
+
+<div class="figcenter">
+<figure id="i039"><a href="images/fig039.jpg"><img src=
+'images/fig039.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 39.—ARABESQUE PANEL OF LAGIN’S PULPIT, ONCE IN
+THE MOSQUE OF IBN-TULUN.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i040"><a href="images/fig040.jpg"><img src=
+'images/fig040.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 40.—PANEL OF LAGIN’S PULPIT, BEARING HIS NAME
+AND TITLES.</p>
+</figure>
+</div>
+
+<p>The panels of Lāgīn’s pulpit show the Cairene carving in its
+boldest and finest style. Later arabesques may be more delicate and
+graceful, but no carvers in Egypt excelled those who made this
+pulpit, in freedom of design and skill of execution. As
+is<span class="pagenum" id="Page_132">[132]</span> usual in the
+best Saracenic work, no two designs of this pulpit are absolutely
+identical: some fresh turn, some ingenious variation in the lines
+of the arabesque, show the independence of the artist from servile
+copying. The panels are enclosed by two thin lines of
+light-coloured wood inlaid in the darker wood of the panel, but the
+borders are not carved in the manner usual in later work, nor is
+there any ivory inlay.</p>
+
+<p>The next dated examples are the carved panels from the mosque of
+El-Māridāny, a Mamlūk Amīr of the court of En-Nāsir ibn Kalaūn,
+which was built in the year 739 of the Hijra, <span class=
+"sc2">A.D.</span> 1338. These panels are partly comprised in the
+top of a French table belonging to the collection of M. Meymar, now
+in the South Kensington Museum, and the setting and beading is
+modern; but the geometrical panels are fortunately intact.
+Horizontal panels, which must have been originally placed above and
+below the carved doors of this pulpit, or over the little doors of
+the side cupboard (such as is seen open in <a href="#i034">fig.
+34</a>), present the following inscription twice over:—</p>
+
+<table>
+<tr>
+<td>|</td>
+<td class="tdc arabic word-spaced05">كهف الفقرا والمساكين</td>
+<td>|</td>
+<td class="tdc arabic">ذخر الارامل والمنقطعين</td>
+</tr>
+
+<tr>
+<td>|</td>
+<td class="tdc arabic">الطنبغا الساقى الملكى الناصرى</td>
+<td>|</td>
+<td class="tdc arabic">العبد الفقير الى الله تعالى</td>
+</tr>
+</table>
+
+<p class="nind">“Provider for the widowed and destitute, Refuge of
+the poor and miserable, The humble servant of God most high,
+Altunbugha, the cup-bearer, the [Mamlūk] of El-Melik
+En-Nāsir,”—which shows that not only was this Amīr a Mamlūk, or
+retainer of the Sultan En-Nāsir, but that he held the office of
+cup-bearer, which was among the most influential and coveted posts
+in the court. The carving of the arabesques on the geometrical
+panels of El-Māridāny’s pulpit is more delicate and intricate than
+that of Lāgīn’s, and inlaid borders (consisting in a double ivory
+line, separated by others ornamented with a scroll pattern) are
+enclosed in a series of thin wooden beadings. Like Lāgīn’s
+carvings, those of El-Māridāny are executed in two reliefs; the
+principal lines of the design being more prominent than
+the<span class="pagenum" id="Page_134">[134]</span> scroll-work of
+the background, which, however, is still in sufficient relief.</p>
+
+<div class="figcenter">
+<figure id="i041"><a href="images/fig041_large.jpg"><img src=
+'images/fig041.jpg' alt='' class="iw10"></a>
+<p class="cp1">FIG. 41.—CARVED PANELS FROM PULPIT (OF KUSUN?).</p>
+
+<p class="cp2">Fourteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p>Nearly contemporary with the pulpit of El-Māridāny are the
+panels, <a href="#i041">figs. 41</a> and <a href="#i042">42,</a>
+which are taken from one of M. de St. Maurice’s doors in the South
+Kensington Museum. In the case of a modern application of the
+original panels it is not always safe to assume that all the pieces
+belong to the same pulpit; and especially doubtful is the
+connection between the geometrical panels and the horizontal
+inscriptional friezes above and below, which are more likely to be
+selected because they fit the present scale of the door, than
+because they belonged to the same pulpit as the geometrical panels
+they accompany. In the present instance the horizontal panels give
+the name of the Sultan Zeyn-ed-dīn Hasan—</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line right"><span class="arabic">النصر الدائم والجاه
+القائم لمولانا السلطان</span>
+</div>
+
+<div class="line right"><span class="arabic">الملك العادل الناصر
+المظفر زين الدين حسن</span>
+</div>
+</div>
+</div>
+</div>
+
+<p class="nind">the peculiarity of which lies in the substitution
+of the surname <em>Zeyn-ed-dīn</em> for the Nāsir-ed-dīn, which is
+invariably applied to Hasan on his coins and public buildings. The
+inscription, however, is no forgery, and there is no other Sultan
+Hasan to whom it could apply. The only question is whether it
+belongs to the geometrical panels in whose company it is found. If
+it does not, which I am far from asserting, at least the
+geometrical panels belong to a period very nearly coinciding with
+the reign of Sultan Hasan (1347-1361). Mr. Wild has preserved a
+sketch of the pulpit of the mosque of Kūsūn, now destroyed, which
+contained panels of the same curious octagonal shape, with very
+obtuse angles, like those in <a href="#i042">fig. 42.</a><a id=
+"FNanchor_42"></a><a href="#Footnote_42" class="fnanchor">[42]</a>
+The Amīr Kūsūn was one of the Mamlūks of En-Nāsir, Hasan’s father,
+and his mosque was built in 1329. It does not necessarily follow
+that the pulpit was set up at<span class="pagenum" id=
+"Page_136">[136]</span> once; a temporary pulpit may have served at
+first. But the similarity of the panels (<a href="#i042">fig.
+42</a>) to those sketched by Mr. Wild seems to indicate that if the
+St. Maurice door is not actually made up from the fragments of the
+vanished <em>mimbar</em> of Kūsūn, the pulpit that was thus
+desecrated undoubtedly belonged to a period nearly coinciding with
+the death of that Amīr in 1341. If the panels with Sultan Hasan’s
+name on them belong to the rest, the pulpit must have been built
+after his accession in 1347, in which case it may have been placed
+in Kūsūn’s mosque by Sultan Hasan, in accordance with a not
+uncommon practice. The work is very like El-Māridāny’s, but even
+more delicate, and there cannot be a long interval between them. It
+should be stated that the outer beading enclosing both these and
+the Lāgīn panels is absolutely modern. It is reproduced in the
+engraving only to show the position of the panels towards one
+another. The original panels are inlaid with a line of ivory inside
+which is a border of dots.</p>
+
+<div class="figcenter">
+<figure id="i042"><a href="images/fig042_large.jpg"><img src=
+'images/fig042.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 42.—CARVED PANELS FROM PULPIT (OF KUSUN?).</p>
+
+<p class="cp2">Fourteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p>After the time of El-Māridāny’s carvings, the style of work
+seems to have gradually deteriorated. Sheykhū’s pulpit, in his
+mosque built in 1358, is good, but ordinary; El-Muayyad’s, in 1420,
+shows a decided falling off in the execution. With the pulpit of
+Kāït Bey, <a href="#i034">fig. 34,</a> we come to the end of the
+history of this description of wood-carving in Cairo, so far at
+least as dated specimens are within our reach. The art may have
+continued for some generations longer, but it had already lost much
+of its character and beauty. In form and arrangement, and also in
+general effect, the pulpit of Kāït Bey may challenge comparison
+with almost any other; but when we come to look closely into the
+work it becomes apparent that the art of the carver had undergone a
+serious process of deterioration. The designs are mechanical, hard,
+and prone to repetition: they will not bear comparison with the
+panels of Lāgīn or El-Māridāny. This is no doubt partly due to the
+substance used. The wooden panels are merely shells to contain
+smaller ivory panels of the<span class="pagenum" id=
+"Page_138">[138]</span> same outline, and the latter alone are
+carved. Ivory is less easily worked than wood, though capable of
+even more delicate treatment; but the artists who were accustomed
+to work in wood must have found the ivory difficult to handle in
+the same flowing lines. Ivory carving of this type is usually
+somewhat hard in treatment, as may be seen in the beautiful but
+somewhat stiff panels of a mosque door engraved in <a href=
+"#i069">fig. 69.</a> These, however, belong to a much better period
+than those of the Kāït Bey pulpit, as may be seen at a glance; and
+it is indisputable that in the time of Kāït Bey the carving had
+changed character for the worse. This is the more remarkable, since
+the reign of this Sultan was famous for the multitude of admirable
+architectural works promoted by himself. The stone carving of the
+time is perhaps unequalled in any other period of Cairene art.
+Perhaps the whole energy of the carvers was absorbed in stone work,
+and the softer material was neglected. After the dominion of the
+Mamlūks was transferred to the Pashas appointed from
+Constantinople, the art of carving pulpit panels seems to have died
+out. The ordinary Turkish mosque of Cairo has a painted
+<em>mimbar</em>, of the same shape as its carved predecessor, but
+with red-ochre and green painting, of no special character, in
+place of the intricate geometrical panelling of the best
+period.</p>
+
+<div class="figcenter">
+<figure id="i043"><a href="images/fig043_large.jpg"><img src=
+'images/fig043.jpg' alt='' class="iw10"></a>
+<p class="cp1">FIG. 43.—CARVED PANELS OF THE TOMB OF ES-SALIH
+AYYUB.</p>
+
+<p class="cp2">Thirteenth Century.</p>
+</figure>
+</div>
+
+<p>The <em>kursy</em>, or lectern, a <span class=
+"sserif large">V</span> shaped desk, on which the Korān was placed
+for reading, was sometimes constructed, like the pulpit, of
+geometrically arranged carved and inlaid panels. An example may be
+seen engraved in Prisse, Pl. 18, where the fine carved kursy with
+open work at the top belonged to the mosque of Barkūk in the
+eastern cemetery. Carved panelling of the same style is also
+sometimes employed for the wooden casing of the tombs which occupy
+the founder’s chapel in a mosque. The ordinary Muslim tomb is
+simply an oblong erection of stone, with a short pillar at each
+end, one of which has the representation of a turban carved upon
+it. Even the graves of the greatest of Mamlūk Sultans were
+constructed<span class="pagenum" id="Page_139">[139]</span> after
+this simple model. Such is the tomb of Kalaūn, the plainness of
+which is partly concealed by the clumsy lattice screen of heavy
+baluster-work which encloses the grave and the relics of the
+Sultan. The tombs of Sultan Hasan, Barkūk, and indeed of most of
+the sovereigns of Egypt, are of this unpretending character. So
+long as there was room inside for the occupant to sit up and say
+his Catechism to the examining angels, Munkar and Nekīr, the
+outside of the grave was of small consequence. The real tomb of the
+Sultan was the mosque, with its glorious dome, which rose above the
+humble stone grave. But in some instances the grave itself was a
+subject for artistic treatment. The tomb of Es-Sālih Ayyūb, built
+in 1249, is the earliest example of the carved panel-work with
+which we are acquainted.<a id="FNanchor_43"></a><a href=
+"#Footnote_43" class="fnanchor">[43]</a> It is fifty years earlier
+than Lāgīn’s panels, described above; and evidence of priority,
+apart from the known date of erection, is presented in the
+simplicity of the arabesque designs, as seen in the cut (<a href=
+"#i043">fig. 43</a>), which is taken from a paper squeeze made
+under my eye in 1883. Another mode of ornamenting a tomb, which
+appears to have been usual at an earlier date still, was by a
+frieze of wooden planks surrounding the oblong grave at its upper
+edge. This is the method employed for the tombs of the members of
+the ‘Abbāsy family, buried in the chapel behind the mosque of Sitta
+Nefīsa. Each grave consists externally of a square stone box,
+standing about four feet from the ground, and ornamented only by a
+band of wood, carved with inscriptions, about six inches in width,
+running round the four sides at their upper edge. The dates of
+these tombs range from <span class="sc2">A.H.</span> 640
+(<span class="sc2">A.D.</span> 1242) to <span class=
+"sc2">A.H.</span> 768 (<span class="sc2">A.D.</span> 1366).<a id=
+"FNanchor_44"></a><a href="#Footnote_44" class="fnanchor">[44]</a>
+The ornament here is simply inscriptional. But there is at
+least<span class="pagenum" id="Page_140">[140]</span> one instance
+of a more elaborate decoration of a frieze of this kind. The grave
+of a sheykh, in one of the cemeteries which surround Cairo, was
+formerly ornamented by a wooden frieze, carved not only with
+inscriptions but with exceedingly soft and delicate arabesques. One
+of the sides is represented in <a href="#i044">fig. 44.</a> It is
+made of some soft yet close-textured wood, which has evidently
+offered little resistance to the friction of the desert sand, the
+effects of which are seen in the singularly soft appearance of the
+surface, which looks as though it had been intentionally rubbed
+with emery paper. Each side of the frieze is made of four long
+parallel strips, with intervening panels of various lengths; and
+the tenons by which it was mortised to the next side are seen in
+the cut. The back of the frieze is carved with a large bold
+arabesque design which belongs in style to the period of Ibn-Tūlūn,
+or a little later. A Kūfy inscription over the door of the
+mausoleum indicates an earlier interment of the year 304
+(<span class="sc2">A.D.</span> 916), and it is safe to assume that
+the original carving belonged to this earlier grave. Thus the
+frieze was carved on materials that had been seasoned for perhaps
+three centuries, and this will explain the somewhat large surfaces
+having escaped the effects of the sun. The carving is unusually
+fine: a border of Korānic inscription at the top is supported by an
+exquisite arabesque scroll-border, and the main band of the frieze
+is ornamented with panels of arabesques surrounded by inscriptions
+in high relief, on a ground of arabesque scrolls. The inscriptions
+here are partly from the Korān, partly benedictory to the deceased,
+whose name they give, together with the date of his death, which is
+legible in the right-hand bottom corner of the engraving,
+<span class="sc2">A.H.</span> 613 (<span class="sc2">A.D.</span>
+1216).</p>
+
+<div class="figcenter">
+<figure id="i044"><a href="images/fig044.jpg"><img src=
+'images/fig044.jpg' alt='' class="iw6"></a>
+<p class="cp1">FIG. 44.—CARVED PANEL OF A SHEYKH’S TOMB (⅒th).</p>
+
+<p class="cp2"><span class="sc2">A.D.</span> 1216. (<em>South
+Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>Thus far we have seen no Cairo carving that traverses the law of
+the Mohammadan religion against the reproduction in art of the
+forms of animate creatures: arabesques, and scrolls of endless
+variety, have been the staple of the ornament. These are the
+characteristic features of Cairo carving. But it would be a mistake
+to imagine that the prohibition against the representation
+of<span class="pagenum" id="Page_142">[142]</span> living things
+was universally observed. We shall see when we come to discuss the
+early metal-work of Egypt, and also the textile fabrics, that
+figures are at certain periods the rule, not the exception. So in
+wood-carving, though not to the same extent, if one may judge from
+existing examples, the law about figures was not always observed.
+Panels carved with representations of birds exist in the South
+Kensington Museum and in the Arab Museum at Cairo. But the most
+remarkable example of figure carving in Cairo is found in the doors
+of the Māristān, or mosque-hospital of the Mamlūk Sultan Kalaūn,
+the father of En-Nāsir Mohammad. M. Prisse d’Avennes fortunately
+studied these extraordinary panels when they were better preserved
+than they are now, and from the squeezes he then took he was able
+to<span class="pagenum" id="Page_144">[144]</span> restore the
+designs to the almost too perfect outlines presented in his plates
+(nos. 83 and 84), from which the engravings, <a href="#i046">figs.
+46-8,</a> are taken. There are eight panels altogether, of pine
+wood, and each is carved with representations of the sports,
+amusements, and occupations of the Arab, or rather of the Persian,
+for there can be no doubt that the source of these admirable
+designs was the art of Mesopotamia, where the traditions of ancient
+Persian and Assyrian art still survived in the metal-work of the
+artists of Mōsil and other towns.</p>
+
+<div class="figcenter">
+<figure id="i045"><a href="images/fig045.jpg"><img src=
+'images/fig045.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 45.—PANEL OF A DOOR FROM DAMIETTA.</p>
+
+<p class="cp2">(<em>Cairo Museum.</em>)</p>
+</figure>
+</div>
+
+<p>In the centre of the first panel we see on a ground of rather
+crude scroll-work a centaur, winged like an Assyrian beast, and
+wearing a crown exactly resembling the tiara that is found on
+similar centaur huntsmen on the figured metal-work of Mōsil. He has
+stretched a bow and is discharging an arrow at a unicorn behind
+him; a corresponding unicorn paws the ground on the opposite side.
+The scene is just what we find through the whole range of
+Mesopotamian design, from the oldest Assyrian bas-reliefs
+downwards.</p>
+
+<div class="figcenter">
+<figure id="i046" class="iw3"><a href="images/fig046.jpg"><img src=
+'images/fig046.jpg' alt=''></a> <a href=
+"images/fig047.jpg"><img src='images/fig047.jpg' alt=''></a>
+<p class="cp1">FIGS. 46 AND 47.—CARVED PANELS FROM THE MARISTAN OF
+KALAUN.</p>
+
+<p class="cp2">(After Prisse d’Avennes.) Late Thirteenth
+Century.</p></figure>
+</div>
+
+<p>In the second panel a peacock stands in the middle, in a
+geometrical figure formed of a lozenge and quatrefoil combined.
+Large leaf scrolls winding round form a sort of division in the
+band of figures, and the sections thus marked off are filled with
+(on the left) two running servants, holding ewers and glasses, and
+(on the right) a player on the square lute and a seated figure with
+drinking-vessels. Simple scroll borders enclose the central band
+above and below.</p>
+
+<div class="figcenter">
+<figure id="i048"><a href="images/fig048_large.jpg"><img src=
+'images/fig048.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 48.—CARVED PANEL FROM THE MARISTAN OF
+KALAUN.</p>
+</figure>
+</div>
+
+<p>In the vertical panel, which is divided into various
+compartments by the curling lines of the scroll-work which forms
+the background, is a kneeling figure in the act of rising, with a
+slain deer flung over his shoulders and held in position by one arm
+thrown round its neck and the other round its hind-legs. Over this
+figure two eagles are perched, breast to breast, but with beaks
+averted; and on either side of these, in exaggerated proportions,
+are two long-tailed cockatoos, fronting inwards, but with
+heads<span class="pagenum" id="Page_146">[146]</span> averted like
+the eagles; over the cockatoos are a corresponding pair of deer,
+each with an eagle on his back, with wings spread, having just
+alighted on his prey; and, to crown the panel, is a central
+representation of two combatant ducks,—their webbed feet clearly
+visible—beak to beak. These upper designs are matched, below the
+cockatoos, by similarly arranged figures: to balance the eagles and
+deer, a pair of winged Assyrian monsters or centaurs, resembling
+that on the first panel described above, with the same
+three-pointed crown; and underneath these, in the<span class=
+"pagenum" id="Page_147">[147]</span> centre, to correspond with the
+ducks, a pair of long-eared rabbits confronted. These figures are
+depicted in a spirited style that has no parallel in Eastern
+carving, at least in Egypt or Syria; and they mark a distinct epoch
+in the history of Cairo art.</p>
+
+<div class="figcenter">
+<figure id="i049" class="iw12"><a href=
+"images/fig049.jpg"><img src='images/fig049.jpg' alt=''></a>
+<p class="cp1">FIG. 49.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>As has been already said, there is but one source to which these
+remarkable carvings can be traced. The artists who engraved the
+hunting scenes, the water-fowl, the drinking-bouts, of the bowls
+and other vessels of bronze and brass made at Mōsil or in the
+neighbouring cities—the artists, in short, who had inherited the
+traditions of animal design from the workmen of the Sassanians, the
+Parthians, and the Assyrians, these were the men who inspired, if
+they did not actually execute the carved panels of Kalaūn. The
+birds face to face refer no doubt to the cockfights which the
+Persians included among their favourite sports, and the adoption of
+the duck instead of the cock has its explanation in the name of the
+Sultan for whose hospital these panels were carved; for Kalaūn was
+a slave from Kipchak, and his name means “duck” in his native
+Tartar tongue. It is strange that so admirable a style of
+decoration did not find wider acceptance among the founders and
+architects of mosques in Cairo. No near parallel to these carvings
+of Kalaūn can be found in any mosque of the period, still less in
+any of later date. A few pieces carved with parrots and peacocks
+have been noticed, but these, since they are separated from their
+original surroundings, may have come from the same source as the
+panels still remaining at the Māristān of Kalaūn.</p>
+
+<div class="figcenter">
+<figure id="i050" class="iw12"><a href=
+"images/fig050.jpg"><img src='images/fig050.jpg' alt=''></a>
+<p class="cp1">FIG. 50.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>It is perhaps rash to speculate upon the causes which led to the
+sudden adoption and as sudden abandonment of a remarkable and
+characteristic style of carving; but in the present case there is
+some evidence that may help us to an explanation. In the chapter on
+metal-work we shall have to describe a similar sequence of adoption
+and abandonment with respect to the figured style of Mōsil, which
+closely resembles the style of Kalaūn’s carvings. The chased bowls
+and caskets, covered with representations of<span class="pagenum"
+id="Page_148">[148]</span> hunting and drinking scenes, beasts of
+the chase, and the like, made their appearance in Cairo about the
+end of the first quarter of the thirteenth century, so far as
+existing specimens allow us to judge. The style was brought from
+Mesopotamia by the princes of the family of Ayyūb, of which Saladin
+was the most celebrated member. The Ayyūbis passed through the
+country watered by the Tigris and Euphrates before they arrived in
+Syria, or attempted to worm themselves into the sovereignty of
+Egypt. Saladin and his kinsmen were the officers of the great
+Sultan Nūr-ed-dīn, of Aleppo and Damascus, who came of the stock of
+the Beny Zenky of Mōsil. The Beny Zenky had been among the earliest
+to adopt the novelty of a figured coinage: they adorned their money
+with the saints and holy personages of the Byzantine coinage, or
+with symbols taken from Persian astrology, in place of the sternly
+simple inscriptions which covered the faces of the coins of the
+orthodox Khalifate. These innovations were carried into Syria by
+Nūr-ed-dīn, who entertained as few prejudices on the subject of
+representations of living things as the rest of the Kurdish and
+Tartar princes, who now ruled the best provinces<span class=
+"pagenum" id="Page_149">[149]</span> of the Khalifs of Baghdād.
+Saladin (though a very pious and orthodox prince) brought the
+heretical novelty to Cairo, where he carved his own cognizance, an
+eagle,<a id="FNanchor_45"></a><a href="#Footnote_45" class=
+"fnanchor">[45]</a> on the wall of the Citadel which he built on a
+spur of Mount Mukattam. There is a brass and silver casket of
+Saladin’s grandnephew in the South Kensington Museum, covered with
+figures of huntsmen, &amp;c., which shows that the Ayyūby kings of
+Egypt continued to patronize the art introduced by their great
+kinsman. So, too, the earlier Mamlūks found no spiritual injury to
+result from the representation of men and animals on their cups and
+perfume-burners, their trays and bowls. Evidence of this will be
+found in the chapter on metal-work; and the lion, the cognizance of
+Beybars, the most powerful of the early Mamlūk Sultans, occurring
+on coins, doors, and walls, shows that this indifference to a minor
+regulation of the Arabian prophet extended to more forms of art
+than one. Beybars’ lions or chītahs on his coins and bronze mosque
+doors, Beysary’s eagles on his perfume-burner, El-Ādil’s
+hunting-scenes on his coffret, Kalaūn’s centaurs and drinking-bouts
+on his hospital doors, all point to a general acquiescence for
+awhile in this flagrant disregard of what had always been held a
+binding precept in Islām. But with the reign of En-Nāsir, Kalaūn’s
+son, a new style of metal-work came into fashion: rosettes of
+flowers and leaves, arabesques, and scrolls, and the rest of the
+legitimate materials of the Mohammadan artist, obtained a hold on
+Cairo work in all branches that was never again lost. At precisely
+the same time, the figured carving, which seemed to promise so fine
+a field for mosque and palace decoration, was abandoned in favour
+of the small carved and inlaid arabesque panels, which have already
+been examined in detail. It is not unreasonable to ascribe the
+change in the wood-work to the same cause as that which operated in
+the metal-work; and this seems to have been natural enough. The
+barbarous Kurds<span class="pagenum" id="Page_150">[150]</span> and
+Tartars, who had swarmed over the lands of the Khalifate, and
+entered Egypt, might for a while, by dint of sheer imperious
+insistance, make a form of art popular which was nevertheless
+unorthodox; but as the barbarians settled down in the cities of the
+Muslims, which they did so much to beautify, they must have
+gradually become assimilated to the people they governed, and their
+first ignorant indifference about so vital a part of religion as
+the prohibition of images of animate things must have given place
+to a proper iconoclastic feeling, or at least they must have
+learned to weigh more accurately the sentiments of the pious on the
+subject. Thus the imported art of figure carving, which was the
+temporary <em>protégé</em> of the Tartar princes, before they knew
+better, gave place to the arabesque and geometrical ornament which
+had long before been settled upon as most consonant with the letter
+and spirit of Mohammad’s precept. The figure art was foreign to
+Cairo; it was heretical; and it was little suited to the small
+panelling which was a condition of the carver’s art in so hot a
+climate: the large panels of Kalaūn’s doors have suffered severely
+from the heat, and the size is against all the precautions of
+joinery in hot climates. On the other hand, carved panelling, in
+small<span class="pagenum" id="Page_151">[151]</span> sizes, worked
+into intricate geometrical patterns, formed the native art of
+Cairo, was exactly adapted to the conditions of climate, and
+offended no law of God or man. It was clear that the figure carving
+had no chance against so well accredited a rival.</p>
+
+<div class="figcenter">
+<figure id="i051" class="iw12"><a href=
+"images/fig051.jpg"><img src='images/fig051.jpg' alt=''></a>
+<p class="cp1">FIG. 51.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i052" class="iw12"><a href=
+"images/fig052.jpg"><img src='images/fig052.jpg' alt=''></a>
+<p class="cp1">FIG. 52.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>When we say that the small arabesque carving described in
+detail, and illustrated by specimens from numerous pulpits, was a
+native Egyptian art, we may be thought to be going too fast. The
+evidence is certainly incomplete for so definite an assertion, it
+will be said; and until we know something more about early Egyptian
+carving, say in Fātimy times, it is hardly reasonable to expect a
+cautious student to assent to any proposition about “native” arts
+in Egypt. But I believe that the evidence for the indigenous nature
+of the particular style of carving referred to is strong enough to
+warrant the appellation of native art. It is to be noted that in no
+other Mohammadan country do we find the same character of wood
+carving except in isolated examples, which may be due to Cairene
+influences. Damascus carving is absolutely different in style; it
+consists in rich flowery decorations in high relief, and not of
+arabesques in small geometrical panels and comparatively
+low<span class="pagenum" id="Page_152">[152]</span> relief. Persia
+has nothing of the kind, nor, so far as we know, has the opposite
+region of Mauritania. The carved panelling of Cairo seems to be
+peculiar to Egypt. This is in itself a strong argument for an
+Egyptian origin of the art. But there is other evidence, which, if
+at present not so complete as could be desired, still offers a
+considerable presumption as to the history of the art. The finest
+specimens of carved geometrical panelling are found, not in the
+Mohammadan mosques, but in the Christian churches of the Copts, in
+Babylon, near Old Cairo. The screens of these Coptic churches are
+often one broad expanse of elaborate inlay and carving in wood and
+ivory, arranged like the mosque pulpits in geometrical panels of
+small size. The designs are naturally founded more or less upon the
+cross, which is also inlaid very frequently in the screens; but the
+character of the work is very similar to that of mosque pulpits,
+and in some instances, the designs of the carving are as nearly
+identical as the originality of the Cairo artist would permit any
+two designs to be. A glance at the lectern engraved in Mr. A. J.
+Butler’s admirable work on the Coptic churches of Egypt,<a id=
+"FNanchor_46"></a><a href="#Footnote_46" class=
+"fnanchor">[46]</a><span class="pagenum" id="Page_153">[153]</span>
+will show the identity of the two, and there is every probability
+that the workmen who made the Coptic screens and lecterns made also
+the Muslim pulpits. It is historically ascertained that the Copts
+were the most skilful of the artists of Egypt, and were employed by
+the Mohammadans to execute some of their mosques; and when the
+excellence of the carvings in the Coptic churches is considered, it
+is not unnatural to assume that this was among the arts which the
+Copts lent to their Muslim masters. The question of date is not so
+easily settled. It is of course necessary to the absolute
+establishing of this view of the origin of Cairo panel-carving that
+examples of Coptic carving should be found earlier than any in the
+mosques, but in this respect the evidence is not convincing. Mr.
+Butler states, for example, that the screen of the convent of
+Abu-s-Seyfeyn, near Cairo, dates from <span class="sc2">A.D.</span>
+927, and the priest of the convent said that it was nine hundred
+years old. But Coptic priests are bad authorities on such a point,
+and the comparison of style which Mr. Butler institutes with the
+restoration pulpit of the mosque of Ibn-Tūlūn tends to give a
+thirteenth instead of a tenth century date. But there are various
+structural arguments which, in the opinion of<span class="pagenum"
+id="Page_154">[154]</span> Mr. Butler, who speaks with the highest
+authority on Coptic art, prove that some of these carvings go back
+as far as the tenth century at least, while the doors at El-Adra,
+in the Nitrian valley, are stated to be certainly of the eighth
+century; and if this be accepted, there can be no further question
+as to the origin of the art of panel-carving and inlaying in Cairo.
+The Coptic churches are mostly earlier than the tenth century, and
+must have had screens from their foundation; and there is no reason
+to suppose that the screens have been often renewed, or that it was
+impossible to carve as well in the tenth century as in the
+thirteenth; indeed the fine stucco designs of Ibn-Tūlūn, which was
+built by a Coptic architect in the ninth century, point to a skill
+in working plaster ornament even then. It was, moreover, natural
+that the Copts, the old inhabitants of Egypt, should have early
+discovered the method of defeating the warping tendencies of their
+hot climate by means of a minute subdivision into panels. Taking
+these various considerations, it is not so rash as it seemed to
+assume that the art of carving panels in the style characteristic
+of Coptic screens and Muslim pulpits was native to Egypt, and was
+the special property of the Copts.</p>
+
+<div class="figcenter">
+<figure id="i053" class="iw12"><a href=
+"images/fig053.jpg"><img src='images/fig053.jpg' alt=''></a>
+<p class="cp1">FIG. 53.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i054" class="iw12"><a href=
+"images/fig054.jpg"><img src='images/fig054.jpg' alt=''></a>
+<p class="cp1">FIG. 54.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i055" class="iw12"><a href=
+"images/fig055.jpg"><img src='images/fig055.jpg' alt=''></a>
+<p class="cp1">FIG. 55.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p><span class="pagenum" id="Page_155">[155]</span>The Coptic
+churches also contain some examples of figure carving, somewhat
+resembling the hunting figures of Mōsil metal-work. A noble
+triforium screen in the church of St. Barbara, and another in the
+church of St. Sergius (Abu-Sargah), in Old Cairo, are decorated
+with warrior saints and beasts much after the model of the horsemen
+of Mesopotamian art. There may of course be a connection between
+these and Kalaūn’s panels, described above, but it is not necessary
+to trace the two to the same source. There can be no doubt of the
+Mesopotamian origin of Kalaūn’s carvings; but those of St. Sergius
+may not improbably be directly derived from Byzantine models, with
+which they show more affinity than with the Mōsil style. Had these
+carvings been derived from the Mesopotamian school, we should
+expect to find a prevailing hunting character, interspersed with
+scenes of festivity, wine-cups, and musical instruments; instead of
+which the subjects are principally warrior saints of the Byzantine
+style, and the beasts that accompany them may be due as much to the
+animal decoration of the Lower Empire as to the hunting-scenes of
+Persian art. The St. Barbara carvings, however, closely resemble
+Mōsil work, and have even the winged centaur. It is, after all,
+merely a question of the immediate<span class="pagenum" id=
+"Page_156">[156]</span> source, of the Coptic figure carvings, for
+it can hardly be doubted that the Byzantine figures and beasts were
+the offspring of the Sassanian and Assyrian style, as much as the
+figured metal-work of Mōsil and Cairo and the carvings of Kalaūn.
+There is always much that is hypothetical in the attempt to trace
+the origin of any special art; many influences combine to form a
+style, and it is contrary to experience to ascribe the whole of the
+elements that go to make up a style to one source. But whatever may
+be the subsidiary influences in Cairo carving, we cannot be wrong
+in ascribing the development of arabesque panel-carving to Coptic
+workmen, and the employment of figures to the influence of
+Mesopotamian models, either directly, or through the medium of
+Byzantine examples.</p>
+
+<div class="figcenter">
+<figure id="i056" class="iw12"><a href=
+"images/fig056.jpg"><img src='images/fig056.jpg' alt=''></a>
+<p class="cp1">FIG. 56.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The wood-work in the mosques of Cairo is principally of the
+carved and panelled style; pulpits, lecterns, doors, are subjects
+for panel-work, inlaid and carved, in geometrical patterns;
+inscriptional friezes, when of wood, are carved and generally
+painted or gilt; and the casings of the tombs, when there are any,
+are panelled like the pulpits. But there is another manner of
+treating wood which is commonly adopted in mosques: this is the
+open lattice-work which, from its most familiar application, in the
+projecting windows of houses, is commonly known to us as
+<em>meshrebīya</em> work. The earlier mosques show us a style of
+lattice which is much less graceful than what is usually understood
+by meshrebīya work. This oldest lattice consists in a frame of
+stout quarterings, divided into compartments of a couple of feet
+square, each of which is filled with a number of upright balusters,
+square in parts and round in others. The effect of such a screen,
+as seen in the enclosure of the tomb of Kalaūn, is clumsy and
+heavy. A more usual kind of lattice is the wide open grille,
+resembling the cross-bars of a prison window, and having no
+pretensions to elaboration. The ordinary graceful lattice-work of
+the meshrebīyas is not common in mosques, though occasionally the
+sanctuary is screened off by such a lattice, and in one of
+the<span class="pagenum" id="Page_157">[157]</span> Coptic churches
+a screen of this kind forms a cheap but graceful substitute for the
+more elaborate wood and ivory carving.</p>
+
+<div class="figcenter">
+<figure id="i056a"><a href="images/fig056a.jpg"><img src=
+'images/fig056a.jpg' alt='' class="iw17"></a>
+<p class="cp1">FIG. 56A.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>It is in the houses of Cairo that this lattice-work is seen in
+its greatest profusion and variety. <a href="#i012">Fig. 12</a>
+gives several excellent examples in a single street. The number of
+such streets is daily diminishing, partly in consequence of the
+dread of fire, which used to leap from window to window in the old
+city with frightful rapidity, and partly because the modern
+Cairenes are enamoured of the unsightly architecture and
+plate-glass of Europe (which is unhappily seen introduced in the
+foremost window in <a href="#i012">fig. 12</a>). The South
+Kensington Museum is peculiarly rich in examples of fine
+lattice-work. The two best are from a single house in Cairo, which
+was in course of destruction, after being condemned by the Ministry
+of Works as unsafe, when I was in Cairo, in 1883; and I was thus
+enabled to purchase for the Museum<span class="pagenum" id=
+"Page_158">[158]</span> the complete room (no. 1193), and the
+meshrebīya (no. 1194), without violating any standing monument of
+Cairo art. The lattices of these two windows are of a fine period,
+probably the early part of the eighteenth century, and the small
+compartments of the larger one are filled with turned lattice of a
+singularly delicate character, which gives the effect almost of
+lace when viewed from inside with the light shining through. One of
+these panels is represented in <a href="#i049">fig. 49.</a> There
+are now more than forty different specimens of lattice-work in the
+South Kensington Museum, and most of them present some variety in
+the design. It would not seem that there was much opportunity for
+variety of effect in the mere combination of short turned bobbins
+of wood in a lattice screen; but the Cairo workmen found out an
+infinity of changes that could be rung on their simple materials.
+The engravings, <a href="#i049">figs. 49-58,</a> which represent
+ten different styles in the South Kensington Museum, will show how
+variously the component parts of a lattice may be arranged. The
+essential feature of the work is a series of oval turned balls
+connected together by short turned links, which fit into holes in
+the balls. It is in the arrangement and number of these links, of
+which 2000 are often contained in the space of a square yard, that
+the variety of design is effected. Sometimes the balls are
+supported by four links or arms forming a cross, sometimes by six
+or eight, like a star; and the distance between the balls may be
+extended, so as to permit of a smaller nob at the crossing of the
+arms, a modification that produces a singularly delicate and
+lace-like effect. Sometimes these intermediate balls are so
+distributed as to form a pattern upon the ground of the wider
+design, as in <a href="#i058">fig. 58,</a> where the finer
+interlacing forms the outline of a lamp suspended in the more open
+lattice. The lamp is the most usual design in such interlaced
+meshrebīyas, but Solomon’s seal and other simple designs are also
+found, and sometimes an Arabic inscription is formed by the skilful
+arrangement of the lattice. An example of interlacing cypresses may
+be seen in the South Kensington<span class="pagenum" id=
+"Page_160">[160]</span> Museum, (no. 1471-1871,) and of a Coptic
+cross formed by the lattice-work (1492-1871). The meshrebīya no.
+140 (1881), has an interlacing inscription</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line right"><span class="arabic">نصر من الله وفتح قريب
+وبشر المومنين يا محمد</span>
+</div>
+</div>
+</div>
+</div>
+
+<p class="nind">“Help is from God, and approaching victory, and
+give glad tidings to the Faithful, O Mohammad!” The meshrebīya from
+the St. Maurice collection, (no. 892-1884,) shows several examples
+of interlacing designs, Solomon’s seals, hanging lamps, and the
+Kūfy inscription <img src='images/ipg160.jpg' alt='[Inscription]'
+class="iwinl1"> (<span class="arabic">رأس الحكم مخافة
+الله</span>)<span class="pagenum" id="Page_162">[162]</span> “The
+chief of wisdom is in the fear of God.” Another piece of
+lattice-work, of a finer and more elaborate character than is
+commonly seen, has the inscription in fine Kūfy letters,
+<span class="arabic">الله وملاىكه صلى على النبى</span> “God and his
+angels bless the Prophet,” formed by pieces of thicker wood, inlaid
+with ivory lines.</p>
+
+<div class="figcenter">
+<figure id="i057" class="iw12"><a href=
+"images/fig057.jpg"><img src='images/fig057.jpg' alt=''></a>
+<p class="cp1">FIG. 57.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i058"><a href="images/fig058.jpg"><img src=
+'images/fig058.jpg' alt='' class="iw14"></a>
+<p class="cp1">FIG. 58.—LATTICE-WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i059" class="iw14"><a href=
+"images/fig059.jpg"><img src='images/fig059.jpg' alt=''></a>
+<p class="cp1">FIG. 59.—FRONT.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i060"><a href="images/fig060.jpg"><img src=
+'images/fig060.jpg' alt='' class="iw14"></a>
+<p class="cp1">FIG. 60.—BACK.</p>
+
+<p class="cp1">CARVED AND INLAID LATTICE-WORK.</p>
+</figure>
+</div>
+
+<p>This more elaborate style of <em>meshrebīya</em> work deserves
+special mention. It is more particularly used for the open panels
+of the balustrade of pulpits, of which narrow examples are seen in
+<a href="#i034">fig. 34,</a> but it is also found in the upper
+panels of the partition screens of mosque sanctuaries, and in other
+positions. The principle of construction is the same as in ordinary
+lattice-work, but the component parts are carved, and sometimes
+inlaid with ivory. A fine example in the St. Maurice collection is
+engraved in <a href="#i059">figs. 59</a> and <a href=
+"#i060">60,</a> in which the front and back are quite different in
+treatment and effect. The lattice, instead of comprising oval balls
+and round links, is composed of hexagons joined by triangles and
+turned links, and the hexagons and triangles are carved and inlaid.
+On one side the triangles are inlaid with carved ebony triangles
+pointing the opposite way to the triangles in which they are set,
+and the hexagons are studded with dark wooden bosses. On the other
+side the triangles are carved with trefoils, and the hexagons with
+sixfoils, each set in ebony and ivory borders. Work of this
+description is uncommon.</p>
+
+<p>Turned lattice-work may unquestionably be included among the
+native arts of Cairo, though it was also made elsewhere. According
+to M. Prisse, this craft is not practised now in Cairo, and the
+modern specimens come from Arabia, notably Jedda. It is
+unfortunately true that very little of this work is now done in
+Cairo, but it is not wholly extinct, and in the earlier half of the
+century it was still a considerable industry, though Lane records
+that the work was then inferior to the old style. The Egyptian
+turner sits cross-legged to his work, and uses a primitive lathe,
+which he causes to revolve with a bow, employing his toes as well
+as his fingers.</p>
+
+<p><span class="pagenum" id="Page_163">[163]</span>Lattice
+<em>meshrebīyas</em> form the principal wood-work in a Cairo house;
+but there are other uses of wood to be described. The delicate
+carved and inlaid panelling which is usual in mosque pulpits is
+seldom employed in houses, though probably the old palaces of the
+Mamlūks, had they been preserved, would have displayed examples of
+such work as rich and elaborate as any in the mosques. The
+panelling generally seen in the doors of the wall-cupboards (which
+surmount the divan in Cairo rooms, and consist of a central
+cupboard with double door, surrounded by little arched recesses for
+pottery and other ornaments), and also used in the interior doors
+of rooms, is of a simple kind, intended more to guard against the
+warping effects of the heat than to serve as an ornament to the
+room. Nevertheless, the effect is sometimes very pleasing, as in
+some of the doors engraved in <a href="#i061">figs. 61-4,</a> where
+the<span class="pagenum" id="Page_164">[164]</span> panels are
+ingeniously arranged in a sort of <span class=
+"sserif large">L</span> pattern, reminding one of some of the
+designs of Saracenic metal-work, or in chevrons, or in a hexagonal
+figure with a central star, or, finally, with a Coptic cross
+(<a href="#i064">fig. 64</a>), which indicates that the door in
+question belonged to a Christian house.</p>
+
+<div class="figcenter">
+<figure id="i061"><a href="images/fig061.jpg"><img src=
+'images/fig061.jpg' alt='' class="iw17"></a>
+<p class="cp1">FIG. 61.—PANELLED DOOR FROM A COPT’S HOUSE.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>This simple panelling of the door and wall-cupboard, and the
+fine lattice-work of the <em>meshrebīya</em>, constitute the most
+conspicuous ornaments in wood of the ordinary Cairo room; but there
+is yet another manner of treating wood, which holds an important
+place in the better chambers, and also in the mosques. This is seen
+in the ceilings, which are often the most beautiful part of a room,
+and are elaborately decorated in both mosques and houses. The
+coffered ceiling of the finest class consists of, first, the beams
+of the roof, which are suffered to appear in their natural
+position, with that true appreciation of the principles of good
+decoration, in which structural features are turned to account,
+instead of being hidden, which characterized the Cairo architect.
+The beams are of rough pine trunks, of considerable thickness, and
+are either left in their natural round or half-round shape, or more
+generally are covered with thin boards, which are frequently made
+in a square form. The latter is the common plan in the mosques, but
+in houses the round outline of the beams is often preserved to
+within a couple of feet of the end, when stalactites mask the
+transition to the square. The beams, whether round or square, are
+covered with a coating of canvas saturated with plaster, like the
+Italian <em>gesso</em>, and decorated in colours, generally red and
+blue, with gold and white to give light; and the deep hollows
+between the beams are divided into small coffers and similarly
+coated and painted, or the bare planks are similarly painted, with
+arabesques and other designs of great beauty. All this work, Mr.
+Wild informs me, is done on the ground, and only put up in its
+place when finished.</p>
+
+<div class="plate">
+<div class="igrp3">
+<div class="figcenter">
+<figure id="i062" class="iw18"><a href=
+"images/fig062.jpg"><img src='images/fig062.jpg' alt=''></a>
+<p class="cp1">FIG. 62.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i063" class="iw18"><a href=
+"images/fig063.jpg"><img src='images/fig063.jpg' alt=''></a>
+<p class="cp1">FIG. 63.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i064" class="iw18"><a href=
+"images/fig064.jpg"><img src='images/fig064.jpg' alt=''></a>
+<p class="cp1">FIG. 64.</p>
+</figure>
+</div>
+</div>
+
+<p class="cp1 clear">PANELLED DOORS.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</div>
+
+<p>The whole effect of this kind of ceiling,—with its contrasts
+between the heavy beams and the delicate patterns between
+them,<span class="pagenum" id="Page_166">[166]</span> and the gleam
+of gold in relief against the deep-toned blue and red
+decoration,—is exceedingly rich.</p>
+
+<div class="figcenter">
+<figure id="i065"><a href="images/fig065.jpg"><img src=
+'images/fig065.jpg' alt='' class="iw15"></a>
+<p class="cp1">FIG. 65.—CEILING OF APPLIQUÉ WORK.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>Another mode of decorating a ceiling is by nailing thin strips
+of wood on the planks that constitute the roof, in a geometrical
+design, and covering the whole with a thin surface of plaster, on
+which various arabesque and floral ornaments are then squeezed
+while the material is soft, and the whole is then painted and
+gilt.<span class="pagenum" id="Page_168">[168]</span> The cut,
+<a href="#i067">fig. 67,</a> represents a ceiling in the St.
+Maurice collection, acquired by the South Kensington Museum. The
+design is raised by means of strips of wood about half an inch
+thick, and these strips are gilt, with lines of red to shade the
+gold; the intervening arabesques are in plaster, gilt, with edges
+of red and blue. The general effect is very handsome. Sometimes the
+ceilings are made in this <em>appliqué</em> style with no
+decoration in the interstices. Such is the example (<a href=
+"#i065">fig. 65</a>), which comes from a comparatively modern and
+poor class of room. The strips of wood are nailed on the planks in
+a geometrical pattern, with a few bosses to form centres, and the
+whole is tinted with red ochre. This and the preceding ceiling
+(<a href="#i067">fig. 67</a>) belonged to meshrebīyas, and the
+style was only employed for ceilings of small size, where no heavy
+beams were required, such as those over meshrebīyas and over the
+durkā‘as of small rooms. It should be noticed that a somewhat
+similar style of <em>appliqué</em> work is used for the bases, as
+well as for the ceilings, of meshrebīyas. In the illustration
+(<a href="#i012">fig. 12</a>), the corbelling of the nearest
+meshrebīya is covered with rosettes and stalactites, all of which
+are first cut out with a chisel and fret-saw, and then nailed on to
+the window. Fret-work is also used for the pendentive eave which
+surmounts all good meshrebīyas.</p>
+
+<div class="figcenter">
+<figure id="i066" class="iw9"><a href=
+"images/fig066_large.jpg"><img src='images/fig066.jpg' alt=''></a>
+<p class="cp1">FIG. 66.—TABLE (KURSY).</p>
+
+<p class="cp2">(<em>Cairo Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The furniture of a Mohammadan house is so limited, that it is
+not difficult to sum up the chief wooden objects. An ordinary room
+in Cairo contains,—beside such structural wood-work as the
+lattice-window and the panelled wall-cupboard, and the simple shelf
+that runs round above the latter, supported by common
+gallows-brackets,—nothing but divans, supported on a frame, which
+is not ornamented, and perhaps a little table (<em>kursy</em>), and
+a desk for the Korān. The <em>kursy</em> (which must not be
+confounded with the lectern of mosques, also called Kursy) is
+generally of inlaid ivory or mother-of-pearl, but some are of
+turned wood, as in the engraving <a href="#i066">fig. 66,</a> which
+is from a table preserved in the Cairo Museum. Portions of the
+stalactites are broken off, but the design is sufficiently
+preserved for us to judge of the effect, which is heavy,
+and<span class="pagenum" id="Page_169">[169]</span> inferior to the
+mother-of-pearl tables with which we are more familiar. The
+reading-desk is of the crossed-leg or camp-stool order, and is
+generally inlaid with mother-of-pearl, which covers the greater
+part of the surface of the table, and is fixed with glue. The
+ordinary Cairo patterns are very simple, and consist in stars and
+geometrical designs; but the Syrian tables, of the same shape and
+material, are carved with figures on the mother-of-pearl, and
+touched with red and green paint. In both kinds the mother-of-pearl
+is set off by black wedge-shaped pieces of horn or bituminous
+composition. Rarer objects are the thrones or chairs of carved and
+lattice-work, used formerly for a bride’s robes. A seat of
+lattice-work (<em>dikka</em>) also stands in the entrance of many
+houses for the door-keeper.</p>
+
+<p>The age of the wood-work, other than carved, is not easy to
+determine. The meshrebīyas, exposed to the weather, do not seem
+able to last very long, and we shall be probably right in assuming
+none of them to be older than the seventeenth century. The more
+elaborate and squarer form of meshrebīya, used in mosques, is of
+course older than this, and may date from the fourteenth century.
+The ceilings vary in date with the mosques or houses to which they
+belong, but they are not found in mosques earlier than the
+fourteenth century, and no Cairo houses can be ascribed with
+certainty to even that period.</p>
+
+<div class="figcenter">
+<figure id="i067"><a href="images/fig067.jpg"><img src=
+'images/fig067.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 67.—CEILING OF A MESHREBIYA.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_171">[171]</span><a id=
+"c06"></a>CHAPTER VI.</h2>
+
+<p class="sch1">IVORY.</p>
+
+<p class="nind"><span class="sc">In</span> the preceding chapter we
+have often had occasion to mention inlaid lines of ivory set round
+carved wooden panels, and even whole panels of ivory set in wooden
+borders (<a href="#Page_132">pp. 132-138</a>). The artists of Cairo
+preferred this combination of substances, and the use of ivory
+alone is rare, though the Egyptians had every opportunity of
+obtaining large quantities of it through the Sūdān trade. In the
+Coptic churches of Old Cairo, indeed, we find ivory more
+prevailingly used than in mosques or Muslim houses. Mr. Butler thus
+describes the screen of the church of Abu-s-Seyfeyn:<a id=
+"FNanchor_47"></a><a href="#Footnote_47" class="fnanchor">[47]</a>
+“It is a massive partition of ebony, divided into three large
+panels—doorway and two side panels—which are framed in masonry. At
+each side of the doorway is a square pillar plastered and painted;
+on the left is portrayed the Crucifixion, and over it the sun
+shining full; on the right the Taking Down from the Cross, and over
+it the sun eclipsed. . . . In the centre a double door, opening
+choirwards, is covered with elaborate mouldings, enclosing ivory
+crosses in high relief. All round the framing of the doors, tablets
+of solid ivory, chased with arabesques, are inlet, and the topmost
+part of each panel is marked off for an even richer display of
+chased tablets and crosses. Each<span class="pagenum" id=
+"Page_172">[172]</span> of the side panels of the screen is one
+mass of superbly cut crosses of ivory, inlaid in even lines, so as
+to form a kind of broken trellis-work in the ebony background. The
+spaces between the crosses are filled with little squares,
+pentagons, hexagons, and other figures of ivory, variously
+designed, and chiselled with exquisite skill. The order is only
+broken in the centre of the panel, where a small sliding window,
+fourteen inches square, is fitted; on the slide a single large
+cross is inlaid, above and below which is an ivory tablet
+containing an Arabic inscription interlaced with scroll-work. In
+these ivories there is no through-carving; the block is first
+shaped in the form required—cross, square, or the like; next the
+design is chased in high relief, retaining the ivory ground and a
+raised border; and the piece is then set in the wood-work and
+framed round with mouldings of ebony, or ebony and ivory
+alternately. It is difficult to give any idea of the extraordinary
+richness and delicacy of the details. or the splendour of the whole
+effect.” Mr. Butler ascribes this screen, in accordance with the
+tradition of the church, to the tenth century, and though the style
+of the arabesques would lead us to infer a date later by two or
+three centuries, his authoritative statement must not be
+disregarded.</p>
+
+<div class="figcenter">
+<figure id="i068"><a href="images/fig068.jpg"><img src=
+'images/fig068.jpg' alt='' class="iw21"></a>
+<p class="cp1">FIG. 68.—CARVED IVORY PANEL.</p>
+
+<p class="cp2">(<em>S. K. M.</em>)</p>
+</figure>
+</div>
+
+<p>Another screen, in the church called El-Mu’allaka, in the
+fortress of Babylon, is unique of its kind. “Above and below are
+narrow panels of carved cedar and ebony, alternately, chased with
+rich scroll-work and interwoven with Kufic inscriptions; the
+framework is also of cedar, wrought into unusual star-like devices,
+and the intervals are filled with thin plates of ivory, through
+which, when the screen was in its original position, the light of
+the lamps behind fell with a soft rose-coloured glow, extremely
+pleasing.<span class="pagenum" id="Page_174">[174]</span> There is
+an almost magical effect peculiar to this screen, for the design
+seems to change in a kaleidoscopic manner, according as the
+spectator varies his distance from it.”<a id=
+"FNanchor_48"></a><a href="#Footnote_48" class="fnanchor">[48]</a>
+This changing effect has often been remarked as a characteristic of
+Saracenic geometrical design, and is due to the combination of
+large and small patterns in such a manner that different parts of
+the design stand out more conspicuously at varying distances.</p>
+
+<div class="figcenter">
+<figure id="i069"><a href="images/fig069.jpg"><img src=
+'images/fig069.jpg' alt='' class="iw17"></a>
+<p class="cp1">FIG. 69.—CARVED IVORY PANELS OF A PULPIT DOOR.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>These Coptic screens are undoubtedly the models upon which the
+ivory carvings of the mosques were founded. Probably Coptic artists
+were employed for the work just as Coptic architects had been
+proved the most skilful for the planning of the mosques themselves.
+There is a close analogy between the style of the Coptic screens
+and that of the Muslim pulpits, with the necessary exception that
+the cross which forms so prominent a feature in the former is
+omitted in the latter, and the designs are restricted to
+geometrical patterns filled in with arabesques. A fine example of
+the Muslim development of the art is seen in the pair of
+pulpit-doors in the South Kensington Museum (nos. 886 and 886a, of
+the St. Maurice collection), one of which is engraved in part in
+<a href="#i069">fig. 69.</a> The doors in their present modern
+frame-work are 6ft. 7in. high, and each leaf is 1ft. 6in. wide. The
+design is marked out by wooden mouldings, and the interstices are
+filled with ivory tablets, carved with delicate arabesques, no two
+of which are the same. Above and below each leaf is a horizontal
+panel filled with ivory scroll-work. It will be noticed, that fine
+as is the style of carving, the effect is harder than that of the
+best period of wood-carving in Cairo, though these doors probably
+belong to the same epoch, the fourteenth century. The stiffness is
+the fault, one must conclude, of the material, not of the artist;
+for the men who chiselled the panels of El-Māridāny and Kūsūn
+(<a href="#Page_132">pp. 132-138</a>) were in all probability the
+mates of those who carved the ivory panels of these doors. The
+designs are also very similar, though varied with the<span class=
+"pagenum" id="Page_176">[176]</span> marvellous ingenuity of the
+Saracenic artist. The softer material, however, seems to have lent
+itself more readily to the expression of these graceful
+outlines.</p>
+
+<div class="figcenter">
+<figure id="i070"><a href="images/fig070.jpg"><img src=
+'images/fig070.jpg' alt='' class="iw17"></a>
+<p class="cp1">FIG. 70.—INLAID IVORY AND EBONY DOOR.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The four panels (no. 885) of the St. Maurice collection, one of
+which is engraved in <a href="#i068">fig. 68,</a> are in a similar
+style. The work is of the late fourteenth or early fifteenth
+century type, but very well executed, and much softer in effect
+than those described above; and the panels have this peculiarity—a
+sign of rather late date—that the designs of all four are
+absolutely identical. Another style of wood and ivory pulpit-door
+is seen in <a href="#i070">fig. 70,</a> where small panels of
+perfectly plain ivory alternate with pentagonal mosaics of inlaid
+ivory and ebony tesserae. This style may be referred roughly to the
+fifteenth century, but we are at present without exact evidence as
+to the precise date. The beautiful panel of inlaid ivory and ebony
+(<a href="#i071">fig. 71</a>) is from a table in the Arab Museum at
+Cairo, and belonged to the mosque of Umm-Sha‘bān, built in
+1368.</p>
+
+<p>Ivory work, except in combination with wood, is rare in Egypt.
+Two pieces, which I had the good fortune to secure in Cairo in
+1883, are now in the South Kensington Museum, and both are dated.
+The first is a little cup, engraved with a band near the lip,
+containing between scroll borders a verse from the Korān, lxxvi.
+5—<span class="arabic">ان الابرار يشربون من كأس مزاجها كافور</span>
+“Verily the righteous shall drink from a cup flavoured with
+camphor,” describing the drink of the blessed in Paradise; while on
+the bottom we read, “Made by Mohammad Sālih at El-Kāhira [Cairo] in
+the year 927,” <span class="sc2">A.D.</span> 1521. The second is an
+ink-horn (<a href="#i072">fig. 72</a>) of the usual Eastern shape,
+to hold ink in the cavity at the head, and reed pens in the handle;
+and worn in the girdle by the Egyptian scribes and learned men, who
+do their writing often on the backs of their donkeys. The head is
+covered with floral ornament of a late style, and the sides with
+Arabic verses between scroll borders; and on the bottom of the head
+are inscribed the words, “Made by the Seyyid Mohammad Sālih at Misr
+[also Cairo] in the year 1082,” <span class="sc2">A.D.</span>
+1672.</p>
+
+<div class="figcenter"><span class="pagenum" id=
+"Page_177">[177]</span>
+<figure id="i071"><a href="images/fig071.jpg"><img src=
+'images/fig071.jpg' alt='' class="iw15"></a>
+<p class="cp1">FIG. 71.—INLAID IVORY AND EBONY PANEL FROM A
+TABLE.</p>
+
+<p class="cp2">(<em>Cairo Museum.</em>)</p>
+</figure>
+</div>
+
+<p><span class="pagenum" id="Page_178">[178]</span>The verses are
+these:—</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line right"><span class="arabic">لا تحسبوا ان حسن الخط
+ينفعنى</span>
+</div>
+
+<div class="line right"><span class="arabic">ولا سماحة كف الحاتم
+الطائ</span>
+</div>
+
+<div class="line right"><span class="arabic">وانما انا محتاج
+لواحدة</span>
+</div>
+
+<div class="line right"><span class="arabic">لنقل نقطة حرف الخاءِ
+للطاءِ</span>
+</div>
+</div>
+</div>
+</div>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">“Think not the grace of the pen’s my
+desire,</div>
+
+<div class="line indent2">Or the Arab chief’s generosity:</div>
+
+<div class="line indent0">&nbsp;For one thing only do I
+require,</div>
+
+<div class="line indent2">That the point be moved from the
+<em>h</em> to the <em>t</em>.”</div>
+</div>
+</div>
+</div>
+
+<p>The meaning is, that by transferring the diacritical point of
+<span class="arabic">الخط</span> (“penmanship” or “writing”) to the
+second letter, thus <span class="arabic">الحظ</span>, the word is
+changed to “good fortune.” The Arabic gives the name of <em>Hātim
+Tāy</em>, the typical Arab hero, renowned for his prodigal
+hospitality and unselfish chivalry, and the subject of numerous
+Eastern legends and poems.</p>
+
+<p>It looks as though the art of ivory carving had remained
+hereditary in one family, and the second Mohammad Sālih were a
+descendant of the first; but the names are common enough, and the
+identity may be purely accidental. These are the only specimens of
+Cairo ivory vessels with detailed dates and names with which I am
+acquainted. They are late, but for that reason all the more
+interesting, for our Museums are particularly poor in specimens of
+sixteenth and seventeenth century carvings.</p>
+
+<p>The ink-horn of the shape shown in <a href="#i072">fig. 72</a>
+is usually made of brass or copper, but some of the better sort are
+of silver, though I have never seen one of this material; and one
+is mentioned in history as made of glass, but this was taken as a
+proof of extreme humility. A not uncommon kind is made of plain
+ivory, inlaid with little brass annulets filled with coloured ivory
+and brass mosaic, in the style familiar on Shīrāz muskets; but this
+is not of Cairo manufacture. An example is shown in the South
+Kensington Museum.</p>
+
+<p>Ivory was also used as a base on which silver plates were
+laid.<span class="pagenum" id="Page_179">[179]</span> Such is the
+style of the Bayeux casket (illustrated in Prisse, iii., pl. 157),
+which belongs probably to the eleventh century. Figure carving in
+ivory is not found in the Egyptian school of art, but it certainly
+obtained in Spain, as is proved by the splendid ivory box made for
+Ziyād ibn Aflah in <span class="sc2">A.H.</span> 359, <span class=
+"sc2">A.D.</span> 969, now in the South Kensington Museum, on which
+are various spirited representations of figures and animals, even
+winged centaurs, closely resembling the Mōsil decoration of metal
+objects. There can be little doubt that, wherever made, this box
+represents the influence of Mesopotamian artists, probably conveyed
+through the Fātimy Khalifs of Africa to Spain and Sicily.</p>
+
+<div class="figcenter">
+<figure id="i072" class="iw6"><a href="images/fig072.jpg"><img src=
+'images/fig072.jpg' alt=''></a>
+<p class="cp1">FIG. 72.—IVORY INK-HORN.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_180">[180]</span><a id=
+"c07"></a>CHAPTER VII.</h2>
+
+<p class="sch1">METAL-WORK.</p>
+
+<h3>1. <em>Brass and Bronze Inlay.</em></h3>
+
+<p class="nind"><span class="sc">Saracenic</span> metal-work, so
+far as we are acquainted with existing dated specimens, begins in
+Mesopotamia in the early part of the thirteenth century of our era.
+That the art must, however, have been developing for centuries
+before this date, possibly at other places, is clear from the
+perfection of the workmanship displayed on the very earliest
+pieces; indeed, the oldest are as a rule the most elaborate and
+finished. Moreover, there is every reason to believe that the art
+of metal-working, engraving, and chasing, existed in a continuous
+development from very ancient times in the region of the Tigris and
+Euphrates. The earliest Saracenic bowls are decorated with
+hunting-scenes which remind one at once of the favourite designs of
+the Assyrian bas-reliefs; the bronze gates of Balawat, and the
+Sassanian cups which have come down to us,<a id=
+"FNanchor_49"></a><a href="#Footnote_49" class="fnanchor">[49]</a>
+present many points of close resemblance to these first examples of
+the Saracen artist. There was, however, a special reason for a
+notable extension and development of the art in the thirteenth
+century.<a id="FNanchor_50"></a><a href="#Footnote_50" class=
+"fnanchor">[50]</a> During the earlier ages of Mohammadan rule,
+though the Khalifs were not remarkable for their piety or
+observance of the laws of the Korān, a certain decent outward
+appearance of conformity to the regulations of Mohammad seems to
+have prevailed. Among other prohibitions, that which forbade the
+representation in art of animate creatures was particularly
+observed. The rulers may have cared little about such laws, but the
+people<span class="pagenum" id="Page_181">[181]</span> probably had
+not yet shaken off the impression of Mohammad’s puritanical
+teaching, and there were enough orthodox Arabs about the court of
+the Khalifs to make any flagrant deviation from such a law as that
+which proscribed images dangerous in the extreme. The coins of the
+period prove that this was the case. ‘Abd-el-Melik’s abortive
+attempt to follow the Byzantine model, and place his own image on
+the coinage, was succeeded by a strictly plain currency, on which
+no approach to the representation of a living thing appeared for
+five centuries. But when the Turkish guards, whom the Khalifs
+unwisely imported for their own safety, were followed by Turkish
+hordes, who founded dynasties and by degrees abstracted the whole
+power of the Khalifs, the observance of the law against images
+became less stringent. The Turkish immigrants were Mohammadans, but
+they did not adhere to the straitest sect of the Muslim Pharisees,
+and took a lenient view of the minor regulations of Islām. We
+cannot be too thankful to them for this happy indifference, for we
+owe the highest development of Saracenic art in the East to Turkish
+or Tartar rulers. Among the earliest to introduce the
+representation of images on the coinage were the small dynasties of
+Mesopotamia, who followed in the wake of the great Seljūk invasion.
+The large copper coins of the Urtukīs and Beny Zenky abound with
+figures of men, saints, princes, and beasts, some derived from
+Byzantine coins, others taken from the symbols of astrology.<a id=
+"FNanchor_51"></a><a href="#Footnote_51" class="fnanchor">[51]</a>
+Christ and the Virgin are among the images employed by these
+indiscriminating coiners, while such emblems as the two-headed
+eagle and the centaur-like figure of Sagittarius show an oriental
+and probably Assyrian derivation. Coins of this kind begin to be
+common in the twelfth century, and it is not hard to trace a
+connection between this sudden appearance of imaged coins and the
+almost contemporary fabrication of metal bowls and cups and caskets
+bearing similar images and emblems. The two-headed eagle, the signs
+of the zodiac, the<span class="pagenum" id="Page_182">[182]</span>
+images of aureoled saints or horsemen engaged in the chase, are
+found alike on coins and vessels, but in much greater abundance and
+variety on the latter, where the large surfaces naturally afforded
+more room for their display. We cannot be far wrong in assuming
+that the art of metal-working, which had for ages been
+characteristic of Mesopotamia, where the needful mines were
+found,<a id="FNanchor_52"></a><a href="#Footnote_52" class=
+"fnanchor">[52]</a> after slumbering under the Khalifs, received,
+like the coinage, a sudden stimulus from the advent of the Turkish
+dynasties. Up to the twelfth or thirteenth century the arts
+doubtless lingered on under the stigma of the orthodox, and it
+needed only the favour of the powerful, especially of princes so
+fond of display and gorgeous surroundings as the Tartar dynasts, to
+give a new life to the long-restrained skill of the Mesopotamian
+artists, and to encourage them to higher efforts.</p>
+
+<p>The Mesopotamian, or, to use a shorter term, derived from its
+chief seat, the Mōsil style is characterized by a predominant use
+of figures of men and animals. Aureoled horsemen engaged in the
+various methods of the chase, to which the Persians had ever been
+addicted, surround the bowls or other vessels in broad bands; with
+lance or bow, with leopard or chītah on the crupper, with hawk on
+wrist, or attended by hounds, they pursue the bear or lion or
+antelope or other quarry; crowned and aureoled princes, seated
+cross-legged on high-backed thrones, attended by pages, and holding
+the forbidden wine-cup in the hand, occupy panels or medallions;
+musicians with cymbals, lute or pipe, dancers, and other types of
+festivity, or the personified Signs of the Zodiac combined with
+their ruling planets, vary the monotony of the hunting-scenes; and
+combats between animals, birds, and men, are among the subjects of
+the engraver’s skill. In one instance the bottom of a large bowl is
+covered with the spirited representation<span class="pagenum" id=
+"Page_183">[183]</span> of a sporting party on the water: a boat is
+pulled by three men, two others shoot wild ducks with their arrows,
+another is engaged in cutting the throat of a wounded duck, a
+seventh sits at the mast-head on the look-out, and another dives
+beneath, pursued by an alligator.<a id="FNanchor_53"></a><a href=
+"#Footnote_53" class="fnanchor">[53]</a> Long chains of beasts of
+the chase, lions, panthers, chītahs, antelopes, hounds and birds,
+pursue one another in narrow borders, and bands of scroll-work or
+twist-pattern divide the different zones of the ornamentation,
+while the intervening spaces are filled with ducks and other
+water-fowl. The ground is generally covered with bold arabesques,
+or with a kind of hook or key pattern, and little medallions or
+annulets filled with a simple rose design serve to divide the
+borders into equal sections. Arabic inscriptions, in the Naskhy
+character, run round the vessels in narrow bands, sometimes (but
+rarely) having the tops of the letters chased in the image of human
+faces or interwoven with the legs of an upper border of beasts of
+the chase (<a href="#i073">fig. 73</a>). Occasionally a meaningless
+inscription, consisting of a few decorative letters frequently
+repeated, takes the place of the genuine inscription, and so far is
+this from being an indication of late date, (though it is perhaps
+most common on late work,) that it is found on objects which
+undoubtedly belong to the thirteenth century, and occurs, for
+example, on a cup found buried with the body of Bertrand de
+Malzand, Abbot of Montmajour, who died in that century.<a id=
+"FNanchor_54"></a><a href="#Footnote_54" class="fnanchor">[54]</a>
+As a rule, the shoals of fish, which are<span class="pagenum" id=
+"Page_184">[184]</span> so common at a slightly later period on the
+bottom of drinking vessels and other utensils intended to hold
+liquids, do not occur on the early Mōsil work.</p>
+
+<div class="figcenter">
+<figure id="i073"><a href="images/fig073.jpg"><img src=
+'images/fig073.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 73.—INSCRIPTION INTERWOVEN WITH FIGURES ON THE
+“BAPTISTERY OF ST. LOUIS.”</p>
+</figure>
+</div>
+
+<p>But the main characteristic of Mōsil and all early Saracenic
+metal-work is the lavish use of silver inlay. Gold does not appear
+to have been employed by the Mōsil artists, but in silver they were
+prodigal. Every part of the design was covered with plates of the
+precious metal, and the intervening spaces, amounting to little
+more than narrow lines, were generally filled with a black
+bituminous composition which concealed the copper or brass, and set
+off the brilliancy of the silver designs. The silver inlay is as
+nearly as possible let in to the level of the brass base, and is
+secured by no pins or solder. The delicate hold obtained by the
+process employed has unfortunately in most instances permitted the
+greater part of the inlay to escape in the course of wear, and we
+are thus enabled to observe accurately the method of inlaying
+adopted by the Saracen workmen. This consisted, in all work of the
+best period, in cutting away the surface to be inlaid in planes
+deepening towards the edges, slightly undercutting the edges
+themselves, and then forcing the silver into the cavity thus
+excavated, and burnishing the rebated edges over the inlaid
+plaque.<a id="FNanchor_55"></a><a href="#Footnote_55" class=
+"fnanchor">[55]</a> In the<span class="pagenum" id=
+"Page_185">[185]</span> case of large surfaces, in order to get a
+better hold, the edges were not only undercut, but slightly toothed
+or serrated, but this is by no means universal, and is often a sign
+of a later repairing of the vessel by less skilful hands. In the
+inlaying of very narrow lines, where there was hardly room for
+undercutting, a series of notches were punched along the line with
+an oblong-headed instrument, and the inlay beaten or pressed with
+agate or jade into the holes, which served to hold the thin thread.
+The earliest work is never treated in the mode which became common
+in Venetian and later inlay, by the process of stippling the whole
+of a large surface with little triangular notches, which served
+like teeth to hold the metal plates. Whenever we find such
+stippling on ancient work, it is a sign that the inlay has dropped
+off, and has been restored by a later hand. The only approach to
+stippling in early work is the punching oblong (not triangular)
+notches in inlaying thin threads of silver or gold.</p>
+
+<p>M. Lavoix, in an interesting paper on “Les Azziministes,”<a id=
+"FNanchor_56"></a><a href="#Footnote_56" class="fnanchor">[56]</a>
+distinguishes three methods of inlaying; (1) incrustation, where a
+thread of gold is inserted in an under-cut groove; (2) plating,
+where a plate of metal is enclosed between slightly raised walls,
+which, he says, is the Damascus manner; and (3) where the workman
+runs a sort of spur-tool rapidly over the surface to be inlaid, so
+as to make a series of notches, and then presses on the thin leaf
+of metal.<a id="FNanchor_57"></a><a href="#Footnote_57" class=
+"fnanchor">[57]</a> The last method, he adds, is that chiefly in
+vogue in Persia, or <em>Al-Ajam</em>, to give the country its
+Arabic name, whence the art came to be known in Europe as <em>Alla
+gemina</em>, <em>Algeminia</em>,<span class="pagenum" id=
+"Page_186">[186]</span> <em>All’ Azzimina</em>, and the inlayers
+took the name of <em>Algemina</em>, or <em>Azzimina</em>. The Comte
+de Rochechouart<a id="FNanchor_58"></a><a href="#Footnote_58"
+class="fnanchor">[58]</a> describes the three processes of
+damascening or inlaying still employed in Persia. He distinguishes
+the processes as follows: (1) <em>Zarkhonden</em>, damascening in
+relief, where the base is cut out and the edges under-cut, and the
+precious metal pinned on with gold nails, after which the surface
+is chased. (2) <em>Zarnichanest</em>, damascening in the flat,
+where the same process is used, but the gold is pressed in with a
+piece of jade, and all that projects is burnished off. (3)
+<em>Zarkouft</em>, which, he says, is the most usual way, where the
+design is traced with the graver, but is not cut out, and the
+surface is toothed with a special tool, and the gold leaf, which is
+used very thin, is pressed on with jade, and then exposed to the
+fire till it sweats, after which it is again burnished with jade,
+and the process is repeated until the incrustation is firmly fixed.
+The last process is very cheap, as little gold is used. It is
+evident that in this last process (which preserves only the name of
+the old <em>Keft</em> work), we have an inferior development of the
+stippling process employed by the Oriental artists of Venice, and
+by the late repairers of Mōsil work. The difference is, that
+instead of using an honest plate of gold or silver and really
+inlaying it in a sunken bed, relying on the stippling only to keep
+the central portions down, the modern Persian method depends wholly
+on the stippling and the heating, and is not inlay at all, but a
+cheap imitation. Another process, mentioned by Sir Digby Wyatt (in
+Waring’s <em>Art Treasures</em>, 1857), is described as consisting
+in punching little holes round the outline of the surface to be
+covered, and burnishing down the silver till it is forced into the
+holes and thus held; but I cannot recall any example of this
+process among the Saracenic objects I have examined.</p>
+
+<p>When with incredible labour the whole surface of a bowl or other
+object had been excavated in the intended designs, and<span class=
+"pagenum" id="Page_188">[188]</span> the edges had been under-cut,
+and the silver plates burnished into the recesses thus prepared,
+the work of the Mōsil artist was only half done. He had next to
+chase the surface of each plate with details which could not be
+represented in the outline. The faces and dress of the horsemen and
+princes, the fur of the beasts, the feathers of every bird, and
+countless other details, had to be slowly and minutely engraved on
+the surface of each little plate of silver, till the
+extraordinarily delicate and finished effect which is
+characteristic of true Saracenic work had been attained. There were
+no half-measures, no scamped work, with the Saracen artists; every
+part of the inlay, if only the size of a pea, if it represented
+anything but the smooth face of an Arabic letter, must be chased;
+and these old-fashioned workmen had not yet learned the economical
+practice of modern artisans, who neglect whatever part is not
+likely to be seen, but took as much pains with the portions of
+their work that were not to be seen as with those that were meant
+to be always visible. Mahmūd the Kurd, a Saracen artist of Venice,
+carried this principle of honest work so far, that when he made use
+of the stippling process to retain his silver plates in their
+places, he traced his stipples in a graceful scroll-pattern,
+although he knew that they would immediately be concealed by the
+silver they were designed to hold. If the silver had not
+accidentally been worn off, we should never have suspected the true
+artist’s spirit hidden beneath.</p>
+
+<div class="figcenter">
+<figure id="i074"><a href="images/fig074_large.jpg"><img src=
+'images/fig074.jpg' alt='' class="iw9"></a>
+<p class="cp1">FIG. 74.—TABLE FROM THE MARISTAN OF KALAUN.</p>
+
+<p class="cp2">Thirteenth Century. (<em>Cairo Museum.</em>)</p>
+</figure>
+</div>
+
+<p>What has been said about the processes of inlaying and chasing
+applies to the whole of the best period of Saracenic art in the
+East, to the Syrian and Mamlūk styles, as well as to the Mōsil
+work, but the predominance in 14th century Mamlūk work of large
+inscriptions, which need no chasing, instead of the multitudinous
+figures of the Mōsil artist, renders the later work slightly less
+elaborate, though even here the prevalence of ducks and birds in
+the ground-decoration demands prodigious labour in chasing.</p>
+
+<p><span class="pagenum" id="Page_189">[189]</span>Between the
+Mōsil work and the commoner Mamlūk style, I have distinguished a
+class to which I have ventured to give the name of <em>Syrian</em>.
+It combines some of the characteristics of the earliest Mōsil style
+with others that belong to the succeeding art of the Mamlūks. Thus
+it shows on some examples the usual Mōsil decoration of figures,
+while it presents numerous examples of the confronted birds, or
+fighting cocks, and groups of four or six ducks or other fowl
+arranged in a circle with their heads together, and also the
+rosette of flowers and leaves which remind one of Damascus
+titles,—all of which are typical of the later work of the Mamlūks.
+One special ornament is to be noticed in this class: this is a
+medallion filled with a sort of key ornament, consisting of a
+number of Z’s arranged in a circle, and inlaid with gold wire.
+These little medallions occur in large numbers all over the
+writing-boxes, which appear to have been the special product of
+this school of metal-work, and they seldom recur in similar
+abundance at any other period. The reasons which lead me to regard
+this class as the fabric of some Syrian city, probably Damascus or
+Aleppo, are these:—the style is certainly distinct from both that
+of Mōsil and the later art of Cairo; gold inlay is historically
+known to have been a favourite decoration with the Damascus
+artists, of whom, according to M. Lavoix, there was a distinct
+school;<a id="FNanchor_59"></a><a href="#Footnote_59" class=
+"fnanchor">[59]</a> the rosettes of flowers and leaves have a
+decidedly Damascus look; the only name, or rather title, that can
+with probability be identified on the objects classed under this
+division, appears to refer to a prince of Aleppo, whose slave or
+Mamlūk made the writing-box described on <a href="#Page_222">p.
+222.</a></p>
+
+<div class="figcenter">
+<figure id="i075"><a href="images/fig075_large.jpg"><img src=
+'images/fig075.jpg' alt='' class="iw14"></a>
+<p class="cp1">FIG. 75.—PANEL OF TABLE OF EN-NASIR, SON OF
+KALAUN.</p>
+
+<p class="cp2">(<em>Cairo Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The third, or Mamlūk, class is at once the most numerous and
+best identified by inscriptions. The greater number of
+examples<span class="pagenum" id="Page_190">[190]</span> belong to
+the time of the Sultan En-Nāsir Mohammad ibn Kalaūn and his many
+and wealthy courtiers, the Nāsiry Mamlūks, and it is probable that
+the style acquired its distinctive character during this period of
+sumptuous magnificence in the fourteenth<span class="pagenum" id=
+"Page_192">[192]</span> century. Indeed we shall see that Beysary,
+who lived through Kalāūn’s reign, employed the art of Mōsil for his
+perfume-burner. Kalāūn, again, to judge by his carved doors in the
+Māristān, preferred the Mōsil style of figure-work, which still
+probably held the market as the best of its kind. It is, therefore,
+not unreasonable to place the beginning of what I have called the
+Mamlūk style at the accession of En-Nāsir Mohammad, who reigned
+from <span class="sc2">A.H.</span> 693 to 741 (<span class=
+"sc2">A.D.</span> 1293 to 1341). From this time onwards, at least
+until the conquest of Egypt by the Othmānly Turks, the Sultāns and
+Amīrs of Egypt delighted to surround themselves with exquisitely
+chased and inlaid vessels and furniture. The Museum at Cairo
+contains two inlaid tables (<a href="#i074">figs. 74</a> and
+<a href="#i075">75</a>), one of which bears the name and titles of
+the Sultan En-Nāsir ibn Kalāūn, in brass filigree work, inlaid with
+silver medallions, panels of flowers, and geometrical designs, and
+Naskhy and Kūfy inscriptions. These tables were used to support
+such a tray as the splendid specimen preserved in the South
+Kensington Museum, described at <a href="#Page_229">p. 229,</a> on
+which the Sultān’s repasts, and the wine service that followed,
+were spread in the usual Eastern manner. The doors of the mosques
+of this period were covered, not with the rough but effective
+plaques of <em>cast</em> bronze, which we see on the doors of
+Beybars (<a href="#i083">figs. 83-6</a>) in the thirteenth century,
+but with <em>cut</em> bronze plates, chased and sometimes inlaid
+with silver. Mosque lamps, when they were not of enamelled glass,
+were of exquisite filigree silver inlay (<a href="#i076">fig.
+76</a>). Large chandeliers hung in front of the niches of many of
+the mosques, made of <em>repoussé</em> bronze in an arabesque
+design and covered with chasing, or of iron filigree work (<a href=
+"#i078">fig. 78</a>), with zones of shining copper, bright as red
+gold. Korāns were enclosed in gold cases adorned with precious
+stones.<a id="FNanchor_60"></a><a href="#Footnote_60" class=
+"fnanchor">[60]</a> The utensils of the royal and aristocratic
+palaces were of inlaid brass and bronze; large bowls or tanks,
+small cups and trays, censers, candlesticks of ungainly form
+but<span class="pagenum" id="Page_193">[193]</span> beautiful
+workmanship, ewers, caskets, writing-boxes, all were covered with
+silver ornament, arabesques, flowers, inscriptions, and geometrical
+designs, with, not seldom, the heraldic badges of their owner. The
+specimens described below range from the beginning of the
+fourteenth to the end of the fifteenth century, when the art of
+inlaying was already on the wane; but an examination of the
+numerous collections, public and private, of Europe would doubtless
+carry the history of the art to a somewhat later date. In the
+present day the Cairo workmen engrave brass trays and vessels of
+considerable merit, and if they do not now produce to any
+appreciable extent the inlaid work of their ancestors it is
+probably because it is too costly for most purchasers, and is
+neglected by the modern Pasha.</p>
+
+<div class="figcenter">
+<figure id="i076"><a href="images/fig076.jpg"><img src=
+'images/fig076.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 76.—LAMP OF SULTAN BEYBARS II.</p>
+
+<p class="cp1">A.D. 1309-1310.</p>
+</figure>
+</div>
+
+<p>There can be no doubt that most of this Mamlūk work was made at
+Cairo. Although the figured work of Mōsil, taking a new start in
+the 12th and 13th centuries, seems to have at first dominated the
+artists of the Mohammadan East, and to have influenced schools of
+design far from its centre, there is no question that inlaid
+metal-work existed in Egypt before the 13th century. The inventory
+of the palace of the Fātimy Khalif El-Mustansir, in the 11th
+century, contains numerous entries of inlaid metal-work,—gold
+plates enamelled in colours; writing-boxes in gold and silver;
+great vats for washing clothes, standing on three legs,
+representing animals; mirrors inlaid with gold and silver in
+borders of precious stones; quantities of vessels adorned with
+chased gold; six thousand gold narcissus vases; and even
+row-galleys coated with gold plates. Nāsir-i-Khusrau, who saw this
+Khalif holding a state reception, says his throne was covered with
+gold, on which were depicted scenes of the chase, huntsmen and
+dogs, and inscriptions; the balustrade was of gold trellis-work of
+a beauty defying description, and the steps behind the throne were
+of silver.<a id="FNanchor_61"></a><a href="#Footnote_61" class=
+"fnanchor">[61]</a> The same<span class="pagenum" id=
+"Page_194">[194]</span> observer tells us of a magnificent silver
+chandelier placed in the mosque of ‘Amr by the Khalif El-Hākim,
+which was so large that they had to break down the door to get it
+into the mosque.<a id="FNanchor_62"></a><a href="#Footnote_62"
+class="fnanchor">[62]</a></p>
+
+<p>Fātimy work spread to Sicily, where we find very early and
+singularly perfect metal-work made by Mohammadans. The Bayeaux
+ivory casket (Prisse, iii., pl. 157), with its finely chased silver
+plates, has an unmistakable Fātimy inscription in combination with
+confronted birds, peacocks beak to beak, parrots, and other Mōsil
+characteristics. The ivory box of Ziyād ibn Aflah, in the South
+Kensington Museum, with the date 359 (<span class="sc2">A.D.</span>
+971), is probably due to Fātimy workmen. The crystal vase preserved
+in the treasure of St. Mark at Venice bears the name of El-‘Azīz, a
+Fātimy Khalif of the last quarter of the tenth century, and is
+closely similar to another crystal vase of St. Denis, now in the
+Louvre, which bears inscriptions of the same character as those on
+the Nürnberg mantle, which was made at Palermo in 1133 under the
+rule of Roger.<a id="FNanchor_63"></a><a href="#Footnote_63" class=
+"fnanchor">[63]</a> These crystal vases, of which examples with the
+name of El-‘Azīz are mentioned by El-Makrīzy, and the embroidered
+silks, show a power of design and execution which implies similar
+proficiency in metal-work. In fine, there is no doubt that the
+artists of Egypt under the Fātimis were skilled to a degree that
+found no parallel in the handicrafts of Europe. The art may have
+succumbed for a while to the influence of the Mōsil school, which
+would naturally be imported by rulers like Saladin and his
+successors, who came from the very region of the Mōsil
+silversmiths; and the Fātimy work may have owed much of its
+perfection to the teaching of Mesopotamian artists of a date
+earlier than any existing specimens;<a id=
+"FNanchor_64"></a><a href="#Footnote_64" class="fnanchor">[64]</a>
+but it is impossible to<span class="pagenum" id=
+"Page_196">[196]</span> overlook the existence of an ancient skill
+in arts of all kinds in Egypt itself, and to ascribe much of the
+merits of the Mamlūk work to the traditions of the Fātimis. The
+derivation is the more likely, inasmuch as the Mamlūk work betrays
+more of the arabesque and floral influence of the Egyptian school,
+as we see it displayed in the older mosques of Cairo, than that of
+the figure ornament of Mōsil. The ducks of the Mesopotamian swamps
+indeed survive and are emphasized, in deference, as I believe, to
+the name of the founder of En-Nāsir’s dynasty, Ḳalāūn (the “duck”);
+but the general character of the Mamlūk style is certainly
+different from that of Mōsil, and partakes of the general Saracenic
+character of arabesque and geometrical design, which was no doubt
+inherited from the earlier rulers of Egypt, and was probably to a
+large extent fostered by skilful artists among the Copts.</p>
+
+<div class="figcenter">
+<figure id="i077"><a href="images/fig077_large.jpg"><img src=
+'images/fig077.jpg' alt='' class="iw4"></a>
+<p class="cp1">FIG. 77.—BASE OF CHANDELIER OF SULTAN EL-GHORY.</p>
+
+<p class="cp2">Beginning of 16th Century. (<em>Cairo
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p>It is unfortunate that so few examples of Coptic art can be
+ascribed with certainty to fixed dates; for the establishment of
+the existence of an early Coptic school of art, derived from
+Byzantium, would explain much that is obscure in the history of
+Egyptian art. From what Mr. Butler has been able to bring together
+in his valuable work on the <em>Coptic Churches of Egypt</em>, it
+seems clear that, however deeply the Saracens were indebted to the
+Copts for their designs and methods in wood and ivory carving and
+inlay, they did not draw their metal-work from the same
+source.<span class="pagenum" id="Page_198">[198]</span> Coptic
+metal-work shows no trace of affinity to the Saracenic bowls,
+trays, and censers described in the present chapter. The lamps,
+crosses, textus cases, and flabella of the Copts are more nearly
+related to European and Byzantine models than to contemporary
+Saracenic work. Yet the remark made above, that Coptic influence is
+traceable even in this art, holds good; since it is not uncommon to
+find one art suggesting ideas to another, and the Coptic designs in
+wood and ivory may have helped to form the Mamlūk style in brass
+and silver.</p>
+
+<div class="figcenter">
+<figure id="i078"><a href="images/fig078.jpg"><img src=
+'images/fig078.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 78.—LANTERN OF SHEYKH ‘ABD-EL-BASIT.</p>
+
+<p class="cp2">(<em>Cairo Museum.</em>)</p>
+</figure>
+</div>
+
+<p>But it may be asked, especially when the prevalence of what I
+have described as a Damascus-looking rosette on Mamlūk work is
+considered, whether the metal-work of the Mamlūks was not
+manufactured at their second capital, Damascus, rather than at
+Cairo, and whether the old Fātimy art had not become extinct, to be
+succeeded by a Damascus school taking up new ground? There is no
+reason for supposing that the artists of Damascus stopped with the
+style described under my second class—if indeed that be really
+Syrian; doubtless they continued to execute equally fine specimens,
+and some of the objects bearing Mamlūk names may have been made at
+Damascus. But it should be noted that there is practically no
+metal-work of any merit at Damascus now, while the Cairo workmen
+are still skilful; and further, I can quote a passage from
+El-Makrīzy which mentions a flourishing school of metal artists
+under the Mamlūks at Cairo.</p>
+
+<p>“<em>Sūḳ El-Keftīyīn</em> (‘market of the inlayers’). This
+market . . . contains a number of shops for the making of
+<em>keft</em>, which is inlaying copper vessels with silver and
+gold. There was a great sale for this kind of work in the houses of
+Miṣr [Fusṭāṭ], and the people had a keen relish for inlaid copper.
+We have seen it in such quantities that it could not be counted,
+and there was hardly a house in Cairo or Miṣr which had not many
+pieces of inlaid copper. The equipment (<span class=
+"arabic">شورة</span>) of a wedding was not complete without a
+<em>dikka</em> (or stand) of inlaid copper. The dikka means a thing
+like a divan-frame, made of wood inlaid with ivory and<span class=
+"pagenum" id="Page_199">[199]</span> ebony, or painted. Upon the
+dikka were set cups of yellow copper [brass] inlaid with silver,
+and the set consisted of seven pieces, some smaller than others,
+the largest holding about an ardebb of wheat. The length of the
+[bands of] silver inlay, on those of the larger size, was about a
+third of a cubit, and the breadth two fingers. And similar to this
+was a set of plates, in number seven, one fitting into the other,
+the largest reaching to about two cubits and more. And besides that
+[inlaid work was used for] lanterns, and lamps, and vessels for
+<span class="arabic">الاشنان</span>, and basins, and ewers, and
+perfume burners. The price of a dikka of inlaid copper thus mounted
+up to 200 dinārs of gold. If the bride were of the daughters of the
+Amīrs and the Wezīrs and the chief secretaries and the chiefs of
+the merchants, the outfit of the marriage included seven dikkas,
+one of silver, another of inlaid copper, another of white copper,
+another of painted wood, another of china, another of crystal,
+another of <em>kedāhy</em>—and this is of pieces of painted sheets
+[papier-maché?] brought from China: we have seen very many in the
+houses, but the art is now lacking in Misr.”<a id=
+"FNanchor_65"></a><a href="#Footnote_65" class=
+"fnanchor">[65]</a></p>
+
+<p>El-Makrīzy goes on to describe the dikka of the Kādy
+‘Alā-ed-dīn, Muhtesib (or inspector of the markets) of Cairo, who
+married a daughter of the merchants, named Sitt El-‘Amāïm (“Lady of
+the Turbans”), of which the metal alone consisted of a hundred
+thousand pure silver pieces; and then mentions the wedding of a
+daughter of Sultan Hasan with an Amīr of Sultān Sha‘bān, and
+describes the fine trousseau she had, including a dikka, or
+service, of crystal, with a crystal bucket engraved with
+representations of wild beasts and birds, big enough to hold the
+contents of a water-skin. He concludes the section with the remark
+that “the demand for this inlaid copper-work has fallen off in our
+times, and since many years the people have turned away from
+purchasing what was to be sold of it, so that<span class="pagenum"
+id="Page_200">[200]</span> but a small remnant of the workers of
+inlay survive in this market.”<a id="FNanchor_66"></a><a href=
+"#Footnote_66" class="fnanchor">[66]</a></p>
+
+<p>The passage above quoted from El-Makrīzy establishes beyond
+doubt the fact that there was a school of inlayers and
+metal-workers at Cairo which survived, though in diminished numbers
+and prosperity, to his own day, <em>i.e.</em> about the year 1420;
+and the bowl (<a href="#i089">fig. 89</a>) described below <a href=
+"#Page_238">p. 238,</a> with the name of Kāït Bey, fifty years
+later, must, if it is of Cairo workmanship, as I believe, have been
+made by the remnant the historian describes as still occupying the
+Sūk El-Keftīyīn.<a id="FNanchor_67"></a><a href="#Footnote_67"
+class="fnanchor">[67]</a></p>
+
+<p>The general characteristics of the class which I have termed
+Mamlūk work are easily recognizable. The Arabic inscriptions are
+large and bold, and often, in the case of trays or other flat
+surfaces, radiating; small inscriptions containing the name or
+title of the Sultān on a fess, or perhaps a coat-of-arms, are
+enclosed in a medallion surrounded by a belt of flowers and leaves
+of the kind familiar on Damascus tiles; the ground is freely
+sprinkled with ducks and other fowl, and the bottom inside the
+bowls is generally ornamented with a shoal of fish, suggestive of
+the purposes for which the vessel was intended; the borders,
+generally of arabesque or flower scrolls, but sometimes of beasts
+pursuing each other, are broken by little whorls,<span class=
+"pagenum" id="Page_202">[202]</span> typical of the style, and
+there are no figures, except when the bowl or other vessel is
+intended for magical or astrological purposes. The style is very
+distinct, and once seen can never be mistaken.</p>
+
+<div class="figcenter">
+<figure id="i079"><a href="images/fig079.jpg"><img src=
+'images/fig079.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 79.—COVER OF SHERBET BOWL.</p>
+
+<p class="cp2">Made by Mahmud El-Kurdy at Venice. Sixteenth
+Century.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p>There remains one more important branch of the history of
+Saracenic metal-work which must not be passed over, although it
+does not belong to our special subject of Egyptian Art. This branch
+is the Saracenic art of Italy, and notably Venice. It stands to
+reason that the exquisite workmanship of the chased vases and bowls
+of the Saracens must have soon found its market in Europe, and
+there is plenty of evidence that even before the Crusades the
+monasteries of the West had learned to prize chalices made by the
+infidels. A strong impetus must have been afforded by the
+Mohammadan proclivities of Frederic II., and his extensive
+employment of Saracen mercenaries in his campaigns against Gregory
+IX. These foreign troops were settled in various cities of Italy,
+where they left their traces in the names as well as in the blood
+and civilization of the places they inhabited. Thus Lucera came to
+be called Nocera delli pagani; thus Pisa, which was occupied by
+Saracen troops for the greater part of the thirteenth century, had
+its Oriental quarter, known as the “Kinsica,” and even in the
+preceding century the poet Donizo had lamented the city being
+“delivered over to Moors, Indians, and Turks;” thus, too, there was
+a “Via Sarracena” at Ferrara. Saracenic artists lived at Genoa and
+Florence, and no doubt taught their art to the native workmen.
+Cellini says he copied Oriental poniards and improved upon them.
+Before the Crusades, Amalfi was the port whence pilgrims started
+for the Holy Land, and it was frequented by merchants from Egypt
+and the East. Here was opportunity enough for the introduction of
+Saracenic art into Europe. But beyond all these lesser entrances,
+Venice was the chief port for Eastern wares. Venice had her
+colonies in the coasts of the Levant, in Turkey, Greece, and
+Palestine; Venice had treaty rights in Egypt and Syria; Venice
+welcomed the merchants of<span class="pagenum" id=
+"Page_203">[203]</span> the East with equal privileges, and
+assigned them the old palace of the Dukes of Ferrara for their
+habitation; and at Venice the name of the “Fondaco dei Turchi”
+still survives.<a id="FNanchor_68"></a><a href="#Footnote_68"
+class="fnanchor">[68]</a></p>
+
+<p>This almost Oriental city was the centre of Saracenic metal-work
+in Italy. Numerous salvers, cups, censers, and other articles, bear
+the unmistakable stamp of Venetian handicraft. The first and most
+salient distinction of this European branch of Saracenic work is in
+the form; the somewhat crude outlines of the true Saracenic bowls
+and candlesticks give place to more graceful and obviously Western
+shapes. In the decoration considerable alterations are made. In
+place of the inscriptional medallions or simple Mamlūk shields,
+European coats-of-arms are introduced; and the general treatment of
+the decoration is different. The arabesques remain, but they are
+more elaborate, and at the same time more mechanical. Silver inlay
+is sparingly used, and in many instances is entirely wanting; and
+the design is brought out, not by the contrast of metals, but by
+relief; the pattern being raised, and the surrounding ground cut
+away to a lower level. When there is inlay, it is generally in thin
+lines, secured between slightly raised and serrated edges, and
+further held by stippling the surface beneath the plate with little
+notches; but even then the design is in relief. The artists who
+produced this extremely delicate and beautiful work were at first
+and probably for some time Easterns. The most famous name we meet
+with on the sherbet-bowls and trays of Venice is that of Mahmūd
+El-Kurdy, who must have come from the Kurd country in the
+neighbourhood of the Euphrates, and was thus an heir to the
+traditions of the Mesopotamian metal-workers. The number of these
+Venetian and Italian specimens in the British Museum is
+considerable, and the series has been instructively arranged, so
+that one can trace the gradual transition from the Mamlūk style
+through the Venetian school to the other still semi-oriental
+salvers of mediaeval Europe. The South Kensington<span class=
+"pagenum" id="Page_204">[204]</span> Museum has also a few fine
+examples of the Venetian style of metal-work, including a specimen
+of Mahmūd El-Kurdy’s skill which is engraved in <a href=
+"#i079">fig. 79.</a> Presently the native Italian workmen took up
+the art, calling themselves Azzimini—workers, <em>all’
+Agemina</em>, “in the Persian style”—as did Paulus Ageminius, who
+made the vase described by M. Lavoix, and Giorgio Ghisi Azzimina of
+Mantua, a great name among them: but in their hands the art changed
+character, and we have to go to the East again to see what remains
+of Saracenic art in the well-chased brass trays of Cairo, the
+floral decoration of Persian <em>narghilas</em>, and the rude
+arabesque bowls of Syria and Tōkāt.</p>
+
+<p>I now proceed to describe some typical examples of Saracenic
+metal-work in our English Museums.</p>
+
+<h4>I. <span class="sc">Mōṣil-work</span>.</h4>
+
+<h5 class="space-above1">1. <span class="sc">Ewer</span>.—<em>Brass
+inlaid with silver.</em> Made by Shugā‘ ibn Hanfar, at Mōsil, in
+<span class="sc2">A.H.</span> 629 (<span class="sc2">A.D.</span>
+1232).</h5>
+
+<p>On a ground of key-pattern, zones of scenes of the chase and
+festivity, benedictory inscriptions, and the date (at the junction
+of the neck) <span class="arabic">نقش شجاع ابن حنفر الموصلى فى شهر
+الله المبارك شهر رجب فى سنة تسع وعشرين وستماىة بالموصل</span>
+“Engraved by Shugā‘ ibn Hanfar of Mōsil, in the blessed month of
+God, the month Regeb, in the year 629, at Mōsil.” The figures are
+arranged in four zones, two of which comprise each ten seated
+figures, enclosed in quatrefoils, playing musical instruments,
+drinking from cups, &amp;c.; while the other two zones are adorned
+with large mounted figures, to wit:—Upper large zone: 1. Horsemen
+with chītah on rump; 2. Figure seated on throne holding cup and
+attended by two squires; 3. Horseman with hawk on wrist, rabbit
+before horse, dog beneath; 4. Archer, bending one knee, shooting
+ducks; 5. Two men<span class="pagenum" id="Page_206">[206]</span>
+fighting together with swords and round shields; 6. Horseman with
+beast on rump, a dog beneath; 7. Figure seated on throne, with two
+attendants, bird above; 8. Horseman spearing lion beneath horse’s
+head; 9 and 10 were occupied by handle and spout (the latter
+missing). Lower large zone:—1. Man and woman in howdah on camel’s
+back, and man leading; 2. Archer drawing bow, and woman in pillion,
+on a camel; 3. Two seated figures, one playing harp, the other
+pipe; 4. Horseman with sword and round shield combatting foot man
+similarly armed; 5. Seated figure, with jug held by servant; 6. Two
+women playing lute and cymbals; 7. Horseman, with uplifted arms,
+launching leopard or chītah from the crupper in pursuit of a deer;
+8. Two women, with bottle, bowls, and fan; 9. Horseman shooting
+arrow down throat of boar; 10. Seated king, wearing turban,
+receiving homage, of a man who prostrates himself before throne and
+kisses king’s hand; a woman stands behind. Suns (with human faces)
+divide the ten figures of the lower zone, and floral medallions
+those of the upper zone. Between the two is a frieze of
+hunting-scenes broken by octagons of key-pattern: men and beasts
+and birds contending in fantastic attitudes.</p>
+
+<p class="right">[Brit. Mus., Blacas. Coll. Reinaud, ii. 423.]</p>
+
+<div class="figcenter" id="i080">
+<figure class="iw17"><a href="images/fig080a.jpg"><img src=
+'images/fig080a.jpg' alt=''></a>
+<p class="cp1">COVER.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure><a href="images/fig080b.jpg"><img src='images/fig080b.jpg'
+alt='' class="iw17"></a>
+<p class="cp1">FIG. 80.—CASKET OF EL-‘ADIL, GRAND-NEPHEW OF
+SALADIN.</p>
+
+<p class="cp2">Thirteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<h5>2. <span class="sc">Censer</span>.—<em>Brass inlaid with
+silver.</em> Dated <span class="sc2">A.H.</span> 641 (<span class=
+"sc2">A.D.</span> 1243).</h5>
+
+<p>Shape, a cylinder on three feet; with a dome-shaped upper part,
+hinged to open and shut, and perforated in a zone round middle. The
+upper part is divided into four zones. Beginning at the button at
+top, the first zone contains an Arabic inscription:—<span class=
+"arabic">انا فى باطنى الجحيم ولاكن ظاهرى قتر رائحات احبّات عمل فى
+سنة احد واربعين وستمائة</span> “Within me is hellfire; but without
+float sweetest odours: it was made in the year 641.”</p>
+
+<p>The second zone is composed of a three-strand plait-pattern.</p>
+
+<p><span class="pagenum" id="Page_207">[207]</span>The third zone,
+pierced with small holes, is covered with arabesques, except four
+medallions which are filled with the characteristic key-pattern
+<img src='images/ipg207.jpg' alt='' class="iwinl2">
+&amp;c.</p>
+
+<p>The fourth zone has the same plait-pattern as the second.</p>
+
+<p>The lower part is ornamented with three medallions (one reserved
+for a handle, which is missing) of key-pattern, with scroll border;
+and three arabesque quatrefoils, each surrounded by four stars; on
+a ground of key-pattern; and a benedictory Arabic inscription
+between the medallions and quatrefoils. The feet are engraved with
+arabesques.</p>
+
+<p>The bottom is of a later date, and is ornamented with an
+interlacing geometrical design in five star centres round central
+star. On the rim of the original bottom are traces of illegible
+inscription.</p>
+
+<p class="right">[B. M., Henderson, 678.]</p>
+
+<p>This is not a typical example of Mōsil-work; but its early date
+procures it the second place, and the key-pattern is
+characteristic, and will be found repeated on later specimens of
+unmistakably Mōsil fabric. With regard to the material, I should
+state that without chemical tests it is often impossible to be sure
+whether the alloy contains tin or zinc, whether, in other words, it
+is bronze or brass. The colour is a very unsafe guide, as I have
+proved during a series of chemical assays of the South Kensington
+collection performed by Professor Hodgkinson.</p>
+
+<h5>3. <span class="sc">Box</span>.—<em>Brass inlaid with
+silver.</em> Made for Bedr ed-dīn Lulu, Prince of Mōsil, who
+reigned <span class="sc2">A.H.</span> 631-657 (<span class=
+"sc2">A.D.</span> 1233-1259.)</h5>
+
+<p>Shape, cylindrical, with a hinged lid and hasp; edge of lid
+bevelled.</p>
+
+<p>On the bevel of the lid is an Arabic inscription:—</p>
+
+<p class="arinsc1"><span class="arabic">عز لمولانا اتابك (؟) الملك
+الرحيم العالم العادل المؤيد المظفر المنصور المجاهد المرابط بدر
+الدنيا والدين لؤلؤ حسام امير المؤمنين</span>
+</p>
+
+<p class="nind"><span class="pagenum" id=
+"Page_208">[208]</span>“Glory to our lord, the merciful king, wise,
+just, God-aided triumphant, victorious, fighting for the Faith,
+warden of Islām, Full-moon of state and church, Lulu [Pearl],
+sword-blade of the Prince of the Faithful.”</p>
+
+<p>Round of the edge of the lid, a plait-border.</p>
+
+<p>On the surface of the lid, a shoal of fish, interlaced, within
+quatrefoil, surrounded by a key-pattern, within scroll-border.</p>
+
+<p>Round the lower part, in quatrefoil panels, four aureoled seated
+figures holding wine-cups, &amp;c., alternating with four bold
+arabesques; these eight panels separated by other panels, enclosing
+a rosette of annulets, and beasts of the chase and water-fowl;
+ground of key-pattern; a fine arabesque border above and
+beneath.</p>
+
+<p class="right">[B. M., Henderson, 674.]</p>
+
+<p>Here we have a vessel made for a well-known Atābek of Mōsil,
+presenting the key-pattern, plait-border, medallions, quatrefoils,
+&amp;c., already noticed in No. 1, but with the addition of the
+aureoled figures, beasts of the chase, water-fowl, and fish, which
+now become characteristic of thirteenth century work. If the
+hunting and hunted animals are typical of the Assyrian and
+Sassanian source of the art, the fish and water-fowl are no less
+natural in the swamps of Mesopotamia.</p>
+
+<h5>4. <span class="sc">Box</span>.—<em>Brass inlaid with
+silver.</em> Made for the Ayyūby Sultan El-‘Ādil Abū-Bekr II.
+(<span class="sc2">A.D.</span> 1238-40) grand-nephew of Saladin.
+<a href="#i080">Fig. 80.</a></h5>
+
+<p>Cylindrical, the edge of the cover bevelled and engraved with an
+Arabic inscription:—<span class="arabic">عز لمولانا السلطان الملك
+العادل الزاهد العابد المويد المظفر المنصور المجاهد المربط سيف
+الدنيا والدين ابى بكر ابن محمد بن ابى بكر بن ايوب</span> “Glory to
+our lord the Sultān, the king, just, virtuous, devout, God-aided,
+triumphant, victorious, fighter for the Faith, warden of Islam,
+Sword of state and church, Abū-Bekr son of Mohammad son of Abū-Bekr
+son of Ayyūb.”</p>
+
+<p><span class="pagenum" id="Page_209">[209]</span>The sides are
+covered with six aureoled figures:—1. Horseman hawk on wrist, dog
+below; 2. Man spearing beast; 3. Horseman spearing beast on
+crupper; 4. Man spearing beast; 5. As 1.; 6. Man slaying beast with
+sword.</p>
+
+<p>On the cover, diaper of hexagrams enclosing six seated turbaned
+figures of the planets round central sun, within a zone of the
+Signs of the Zodiac. Scroll border beneath bevel. Prevailing
+ornaments, scrolls and <img src='images/ipg209.jpg' alt=
+'' class="iwinl4"></p>
+
+<p>An inscription on the bottom <span class="arabic">برسم الطشت
+خاناه العادلية</span>, “Made for the Tisht-Khānāh of El-‘Ādil,”
+refers to the magazine or store-room, where the dresses and
+utensils, &amp;c., of the Sultan were kept, and the clothes washed.
+It was managed by a superintendent (<span class=
+"arabic">مهتار</span>) and a number of servants (<span class=
+"arabic">طشتدار</span>).<a id="FNanchor_69"></a><a href=
+"#Footnote_69" class="fnanchor">[69]</a></p>
+
+<p class="right">H. 4½ in., diam. 4¼ in. [S. K. M., 8508-1863.]</p>
+
+<h5>5. <span class="sc">Perfume-burner</span>.—<em>Brass inlaid
+with silver.</em> Made for the Amīr Beysary, a Turkish Mamlūk of
+Egypt. Circ. <span class="sc2">A.H.</span> 670 (<span class=
+"sc2">A.D.</span> 1271). <a href="#i081">Fig. 81.</a></h5>
+
+<p>Globular: in two hemispheres, pierced with small holes, with a
+ring at the top.</p>
+
+<p>The upper hemisphere is ornamented with five medallions
+enclosing two-headed eagles with spreading tails, separated by five
+smaller medallions filled with the key-pattern in the shape of a
+six-pointed star, the surrounding ground engraved with free
+arabesque scroll-work.</p>
+
+<p>Above and below the design are two zones of Arabic inscriptions.
+Below:</p>
+
+<p class="arinsc1" dir="rtl"><span class="arabic">مما عمل برسم
+المقر الكريم العالى المولولى <span dir="ltr">(<em>sic</em>)</span>
+الاميرى الكبيرى<span class="pagenum" id="Page_210">[210]</span>
+المحترمى المخدومى السفهسلارى المجاهدى المرابط <span dir=
+"ltr">(<em>sic</em>)</span> المتاعزى المؤيدى المظفرى</span>
+</p>
+
+<p class="nind">“Of what was made by order of his excellency, the
+generous, exalted, lord, great Amīr, honoured, master, Marshal,
+fighter for the Faith, warden of Islam, the powerful, the God-aided
+the victorious.” Above: <span class="arabic">بدر الدين بيسرى
+الظاهرى السعيدى الشمسى المنصورى البدرى</span> “Full-moon of the
+Faith, Beysary, the liegeman of Edh-Dhāhir, of Es-Sa‘īd, of
+Shems-ed-dīn, of El-Mansūr, of Bedr-ed-dīn.” Within which, round
+the ring, is a zone of five two-headed eagles in open work.</p>
+
+<p>Lower hemisphere, same as upper, but omitting <span class=
+"arabic">المولالى</span>, and substituting <span class=
+"arabic">الاسفهسلارى</span> for <span class=
+"arabic">السفهسلارى</span>, adding <span class="arabic">ى</span> to
+<span class="arabic">المرابط</span>, and affixing <span class=
+"arabic">عز نصره</span> to <span class="arabic">الشمسى</span>.</p>
+
+<p class="right">[B. M., Henderson, 682.]</p>
+
+<p>Lord Beysary was one of the retainers of Es-Sālih Ayyūb, the
+last ruling king of Egypt of the house of Saladin; rising by
+degrees, he became one of the most powerful of the Amīrs of the
+time of Beybars. When El-Melik Es-Sa‘īd Baraka, the son of Beybars,
+was deposed, Beysary was offered the throne, and refused it. Kalaūn
+(1279-90) threw him into prison, whence he was liberated, after
+eleven years’ captivity, by El-Ashraf Khalīl in 1293, who restored
+him to his rank of centurion, or captain over too men, while the
+Amīrs showered congratulations and presents upon him. Henceforward
+he styled himself El-Ashrafy, “follower<a id=
+"FNanchor_70"></a><a href="#Footnote_70" class="fnanchor">[70]</a>
+of El-Ashraf,” instead of his old title of Esh-Shemsy. On the death
+of Khalīl he was again offered the throne, and again declined the
+honour. The Sultan Ketbughā allotted him sixty Mamlūks, to each of
+whom Beysary gave two horses and a mule. The tide<span class=
+"pagenum" id="Page_212">[212]</span> of fortune changed in 1297,
+when the Sultan Lāgīn, moved to jealousy by a rival lord, again
+consigned Beysary to prison, where he died in 1298, and was buried
+in his tomb outside the Bāb-en-Nasr. He was lavish in his
+generosity, prodigal of immense gifts, and perpetually in debt to
+the amount of 400,000 dirhems (about £16,000); for he had no sooner
+cleared off one debt than he hastened to contract another.
+Generosity was his pride, and he would accept no remonstrances from
+his servants on his prodigality, but straightway dismissed the
+economical critic. He never drank twice out of the same cup, but
+took a new vessel each time. At the time of the accession to power
+of Kalaūn, Beysary is stated to have been wholly given over to wine
+and gambling. No man approached him in the amount and importance of
+his charities. His palace, Dār El-Beysarīyeh, in the
+Beyn-el-Kasreyn, was originally intended, in late Fātimy times, for
+a residence for Frankish ambassadors, and one actually had resided
+there to receive certain tribute; but under Beybars, Lord Beysary
+Es-Sālihy Esh-Shemsy En-Negmy began to rebuild the palace in 1261,
+and spent immense sums on adorning it. It occupied, with its
+stables, garden, and bath, about two acres (feddāns): the marbles
+employed for it were the best that were used in Cairo, and
+excellently wrought. The palace remained in the possession of his
+heirs till 1332. Kūsūn wished to own it, and asked the Sultan
+En-Nāsir Mohammad for permission to treat for it: it was valued at
+190,000 dirhems, and the garden brought it up to 200,000; it
+subsequently passed through many hands, and at the time of
+El-Makrīzy belonged to a daughter of Barkūk. The door of the house
+had a panel which was one of the most beautiful ever made at
+Cairo.<a id="FNanchor_71"></a><a href="#Footnote_71" class=
+"fnanchor">[71]</a></p>
+
+<div class="figcenter">
+<figure id="i081"><a href="images/fig081.jpg"><img src=
+'images/fig081.jpg' alt='' class="iw10"></a>
+<p class="cp1">FIG. 81.—PERFUME-BURNER OF BEYSARY.</p>
+
+<p class="cp2">Thirteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p>It may be questioned whether the South Kensington box and
+Beysary’s perfume-burner were made at Mōsil or at Cairo.
+The<span class="pagenum" id="Page_213">[213]</span> statement on
+the former that it was made “by order of El-‘Ādil’s tisht-khānāh”
+does not necessarily infer that the order was executed in Cairo: a
+Mōsil workman may have been employed at Mōsil or have been fetched
+to Cairo. The two pieces, however, are of the style which is
+identified by other examples as the fabric of Mōsil, and the
+two-headed eagle is a familiar device on Mesopotamian coin of the
+twelfth and thirteenth century; and if either was made at Cairo the
+artists must have been trained in the Mōsil school. That such work
+was sometimes done at Cairo is shown by an astrolabe in the British
+Museum, with the inscription—</p>
+
+<p class="arinsc1"><span class="arabic">صنعه عبد الكريم المصرى
+الاسطرلابى بمصر الملكى الاشرفى الملكى المعزى الشهابى فى سنة خلج
+هجرية</span>,</p>
+
+<p class="nind">“‘Abd-El-Kerīm made it, the Cairene [Misry], the
+Astrolabist, at Cairo, the [follower] of El-Melik El-Ashraf and
+El-Melik El-Mu‘izz, and of Shihāb-ed-dīn, in the year 633.”</p>
+
+<p>This astrolabe has the key ornament, good arabesques, and of
+course planets and zodiacal figures; and is inlaid with silver and
+gold by under-cutting and toothed edges. The El-Mu‘izz, whom he
+once served, was no doubt the prince of Mesopotamia, and El-Ashraf
+the Ayyūby of Diyārbekr, both of whom reigned in the first quarter
+of the thirteenth century. This would show that Mesopotamian
+artists came to Cairo, where there was, as we have seen, a <em>Sūk
+El-Keftīyīn</em>, or market of the inlayers.</p>
+
+<h5>6. <span class="sc">Perfume-burner</span>.—<em>Brass inlaid
+with silver.</em> No date. [Thirteenth century.]</h5>
+
+<p>Shape similar to No. 2.</p>
+
+<p>On the lower part are three arabesque frames, one occupied by
+handle, the other two filled with two aureoled figures seated
+cross-legged on high-backed thrones, with bird on either
+side;<span class="pagenum" id="Page_214">[214]</span> between which
+are other medallions filled with quatrefoils; and beasts of the
+chase; ground of arabesque scroll-work.</p>
+
+<p>On the top, nine seated figures holding cups, cymbals, &amp;c.;
+and round the button a zone of Arabic inscription:—</p>
+
+<p class="center"><span class="arabic">العز الدائم والعمر السالم
+والاقبال الزائد</span>
+</p>
+
+<p>“Enduring glory and sound life and growing prosperity.”</p>
+
+<p class="right">[B. M., Henderson, 681.]</p>
+
+<p>The seated figures on high thrones are similar to some on coins
+of Saladin, of 1190, and of the Urtukīs of Māridīn of the year
+1230: cross-legged figures are common on the Mesopotamian currency
+of the thirteenth century.</p>
+
+<h5>7. <span class="sc">Deep Salver</span>.—<em>Brass inlaid with
+silver.</em> No date. [Thirteenth century.]</h5>
+
+<p>On a ground of key-pattern, a band of hunting-scenes, and
+cross-legged figures holding crescent moon, alternately, with
+occasional water-fowl, and a border of hounds. The hunting-scenes
+depict a horseman attacking, with drawn sword, a leopard on horse’s
+rump, another shooting a hare with bow and arrow, a third cutting
+down a deer in front of the horse, and three pairs of seated
+Byzantine-looking figures, two of these holding cups and the third
+a hawk, while the companions hold sword or spear. Meaningless Kufic
+inscription <span class="arabic">لعالعالعا</span>, &amp;c. Within
+the curve of the rim, a border of medallions enclosing figures
+holding wine-cups, &amp;c., and also pairs of figures resembling
+the Madonna and Child. The central and chief device consists of a
+seated cross-legged figure on high-backed throne, attended by two
+squires, holding cup and sword (other cups sprinkled in the field);
+at the foot of the throne two lions couchant, and beneath them a
+two-headed eagle, closely resembling that of Beysary, between two
+bowmen shooting each at one of its heads.</p>
+
+<p class="right">[B. M., Henderson, 706.]</p>
+
+<h5><span class="pagenum" id="Page_215">[215]</span>8. <span class=
+"sc">Ewer</span>.—<em>Brass inlaid with silver.</em> No date.
+[Thirteenth century.]</h5>
+
+<p>The decoration on the body is arranged in a series of zones on
+an arabesque ground.</p>
+
+<p>The topmost zone consists of a band of falcons, back to back,
+with silver eyes, tails crossed, and heads standing out in very
+bold relief, so as to form a sort of parapet of knobs.</p>
+
+<p>Second zone: Arabic benedictory inscription, tops of
+<em>alifs</em>, <em>lāms</em>, &amp;c., terminating in chased human
+faces.</p>
+
+<p>Third zone: Beasts of the chase.</p>
+
+<p>Fourth or central zone, wider than the rest: Large arabesques
+enclosing twelve quasi-medallions, filled with personified signs of
+the zodiac combined with the seven planets, viz. (1) Mars on Aries,
+warrior holding decapitated human head, and riding ram; (2) Venus
+on Taurus, woman (with lute) riding bull; (3) Mercury and Gemini,
+two figures linked together with a staff (pen?) between them,
+terminating in human faces; (4) Moon and Cancer, crab surmounted by
+human head in crescent formed by claws; (5) Sun and Leo, lion
+surmounted by sun; (6) [Mercury and] Virgo, woman with two ears of
+corn; (7) Venus and Libra, balance held up by a woman; (8) Mars and
+Scorpio, man holding two scorpions; (9) Jupiter and Sagittarius,
+centaur shooting arrow down gaping mouth of dragon (formed out of
+his own tail); (10) Saturn and Capricornus, bearded man with long
+staff, riding goat; (11) Saturn and Aquarius, bearded man and
+well-bucket; (12) Jupiter and Pisces, two fish (Jupiter covered by
+handle).</p>
+
+<p>Fifth zone: Beasts of the chase.</p>
+
+<p>Sixth zone: Arabic benedictory inscription.</p>
+
+<p>Seventh zone: Long-necked birds within borders, necks
+intertwined.</p>
+
+<p><span class="pagenum" id="Page_216">[216]</span>Eighth zone:
+Arabic benedictory inscription.</p>
+
+<p>On the <em>neck</em> is a zone of Arabic benedictory
+inscription, with a fine lion sejant at either side; a zone of
+birds with red copper eyes; the ground consists of beautiful free
+arabesques. Up the spout and sides of handle run strings of beasts
+of the chase, and up the back of the handle a string of birds; at
+the junction of handle with body is a seated figure, cross-legged,
+holding two serpents.</p>
+
+<p>(B. M. Engraved in Labarte’s <em>Handbook of the Arts of the
+Middle Ages</em>, ed. Palliser, p. 423.)</p>
+
+<p>The silver inlay of this ewer is effected by undercutting the
+edges, and not by stippling the surface (what stipples there are
+belong to a later repairing), and the straight lines are inlaid by
+punching all along them with a small oblong-headed punch.</p>
+
+<h5>9. <span class="sc">Bowl</span>.—<em>Bronze inlaid with
+silver.</em> No date. [Thirteenth century.]</h5>
+
+<p>The decoration consists <em>without</em>, in two zones of Arabic
+religious inscriptions divided by key-medallions, and a double row
+of medallions enclosing aureoled figures playing musical
+instruments and drinking from cups; <em>within</em>, a zone of
+medallions enclosing hunting-scenes, aureoled figures fighting with
+lions, carrying falcons, riding an elephant, and a Bedawy on camel,
+the interstices filled with key-pattern; at the bottom, inside, a
+boat rowed by three men, while two others shoot wild ducks, another
+cuts a duck’s throat, a seventh sits at the mast-head, and another
+dives beneath, pursued by an alligator; three zones of Arabic
+religious and unmeaning inscriptions; on rim, border of animals of
+the chase, elephants, and a winged centaur. Height 8 in., diam. 19
+in.</p>
+
+<p class="right">[S. K. M., 2734-1856.]</p>
+
+<p>The foregoing is one of the finest pieces of Mōsil work in
+England. The elephant and camel are specially
+noteworthy;<span class="pagenum" id="Page_217">[217]</span> above
+all, the spirited scene on the bottom of a shooting party on the
+water, such as is recorded in the accounts of the sports of Persian
+princes.</p>
+
+<h5>10. <span class="sc">Stand</span>.—<em>Brass inlaid with silver
+and gold.</em> No date. [Thirteenth century.]</h5>
+
+<p>Nine-sided; chased with representations of nine figures of
+aureoled horsemen, holding falcons, fighting with dragon,
+brandishing bow, spear, and other weapons; above, nine cross-legged
+seated aureoled figures clashing cymbals, blowing pipe, holding
+candles, and putting wine-glass to lips; the interstices filled
+with black bituminous enamel; on a background of silver
+scroll-work; above and below, imitation Arabic inscription
+(<span class="arabic">لسا لسا</span>, &amp;c.). Height 5¾ in.,
+diam. 9½ in.</p>
+
+<p class="right">[S. K. M., 917.-1884.]</p>
+
+<p>The workmanship of the preceding is unusually delicate and
+intricate, and the shape is peculiar. It may have formed the base
+of a candlestick. The black enamel, composed really of pitch, is
+here well preserved, and it is probable that the majority of the
+inlaid works of this period were treated in a similar manner; so
+that the black composition concealed most of those intervening
+portions of brass which the silver plates did not cover.</p>
+
+<p>It is impossible to conclude this section without referring to
+the most famous example of figured Mōsil work in Europe, the
+so-called “Baptistery of St. Louis,” preserved in the Louvre.<a id=
+"FNanchor_72"></a><a href="#Footnote_72" class="fnanchor">[72]</a>
+This splendid bowl, which belongs in style to the class of Mōsil
+work of the thirteenth century, measures five feet in
+circumference,<span class="pagenum" id="Page_218">[218]</span> and
+is covered inside and out with bands of figures richly inlaid with
+silver, so that little of the copper is visible. On the band inside
+are two medallions, each enclosing a prince seated cross-legged on
+a throne with a high pinnacled back and two lions under the feet,
+and holding a wine-cup, attended by two servants, one on the left
+of the prince bearing a sword, the other on the right holding a
+casket inscribed <span class="arabic">دواة</span> (“writing-case”).
+On the back of the throne is the inscription “made by Ibn-ez-Zeyn,”
+or (as it is written elsewhere on the bowl) <span class=
+"arabic">عمل المعلم محمد ابن الزين غفر له</span>, “Made by master
+Mohammad ibn-ez-Zeyn, save him!” The little cups held by the
+princes in the medallions are also signed with his name, as though
+they represented the vessels actually made in his workshop. Between
+the medallions are, on the one hand, six horsemen fighting with
+lances, bows, and maces; on the other, six huntsmen pursuing beasts
+and game. One carries a chītah on the crupper—one of those
+“leopardi qui sciant equitare” which the mighty hunter Frederic II.
+loved to see engraved upon his cups.</p>
+
+<p>On the exterior a frieze of figures, ten centimètres high, is
+broken by four medallions, each containing a prince on horseback
+killing a bear, a lion, or a dragon, with lance or arrows. Between,
+his servants bring him arms, falcons, a slain antelope, dogs in
+leash, and leopards; one offers a flask and cup (inscribed with
+Ibn-ez-Zeyn’s name); another, a plate, inscribed <span class=
+"arabic">انا بجفيز لحمل الطعام</span>, “I hasten to bring food.”
+This frieze is bounded by two borders of beasts of the chase,
+divided by eight medallions, containing each a
+fleur-de-lis—probably a later European addition.</p>
+
+<p>Such, in effect, is M. de Longpérier’s description of this
+magnificent work of art, to which the engravings inserted to
+illustrate his article do scant justice. Some of the zones are
+reproduced from these engravings <a href="#i082">fig. 82.</a> Mr.
+W. Burges (in Sir Digby Wyatt’s <em>Metal Work</em>) says that the
+inlay of this<span class="pagenum" id="Page_220">[220]</span> bowl
+is effected by sinking the designs, especially deeply towards the
+edges, which are under-cut in a rebate, into which the edges of the
+inlaid plate are forced.</p>
+
+<p>Before dismissing the Mōsil work, some reference must be made to
+the numerous mirrors which were made in that part, as well as
+elsewhere. They have been brought from Mesopotamia, Egypt, and
+especially from the South of Russia, where they are often found
+buried in the graves of Tartars. They are generally cast, with a
+good deal of silver in the bronze; in form they are round or
+square, and vary in size from two inches to a foot. Several are
+preserved in the British Museum, including those described by
+Reinaud, from the Duc de Blacas’ Collection. The ornament is on the
+back, and generally consists of little more than benedictory
+inscriptions; but one has a pair of Assyrian winged monsters,
+resembling Kalaūn’s winged kings.</p>
+
+<div class="figcenter">
+<figure id="i082" class="iw1"><a href=
+"images/fig082_large.jpg"><img src='images/fig082.jpg' alt=''></a>
+<p class="cp1">FIG. 82.—INLAID SILVER PANELS OF THE “BAPTISTERY OF
+ST. LOUIS.”</p>
+
+<p class="cp2">(<em>Louvre.</em>)</p>
+</figure>
+</div>
+
+<h4>II. <span class="sc">Early Syrian Work</span>.</h4>
+
+<h5 class="space-above1">11. <span class=
+"sc">Coffret</span>.—<em>Brass, inlaid with silver and gold.</em>
+No date. [Late thirteenth century?]</h5>
+
+<p>Oblong, with sloping lid and silver chains to support it when
+open. It is covered with silver plates, chased with foliage, birds,
+and human-headed lions; and inlaid with medallions of designs and
+religious or unmeaning (<span class="arabic">العالعالعا</span>)
+Arabic inscriptions in gold.</p>
+
+<p>On the lid are eight large and small bosses. Height 5⅜ in., L.
+5⁷⁄₁₆ in., W. 4 in.</p>
+
+<p class="right">[S. K. M., 459.-1873.]</p>
+
+<p>Other specimens of the same sort are engraved in Prisse, where
+one is stated to have belonged to En Nāsir ibn Kalaūn.</p>
+
+<h5><span class="pagenum" id="Page_221">[221]</span>12.
+<span class="sc">Writing-box</span>.—<em>Brass, inlaid with silver
+and copper.</em> With hinge and hasp. No date. [Late thirteenth
+century?]</h5>
+
+<p>Oblong, with compartments for pens, ink, sand, &amp;c.</p>
+
+<p>Along the front, sides, and back of lower part, the signs of the
+zodiac are represented in combination with the planets, much as on
+No. 8, but with copper as well as silver inlay; the ground is of
+closely interwoven arabesques, inlaid and chased on the surface. On
+the bottom are four groups of four water-fowls each, with the heads
+together. On the lid, three medallions filled with key-pattern;
+arabesque ground; and border of decorative Kūfy inscription, nearly
+illegible. Inside the lid is an Arabic benedictory inscription and
+a Kūfy inscription on the top inside, with a central panel, and
+arabesque ground.</p>
+
+<p class="right">[B. M., A. W. Franks, 1884.]</p>
+
+<h5>13. <span class="sc">Writing-box</span>.—<em>Brass, inlaid with
+silver and a little gold.</em> No date. [Late thirteenth
+century?]</h5>
+
+<p>Similar to 12, but with rounded ends; seventeen figures, riding,
+drinking, or playing on musical instruments, on the lid and bottom,
+inside and out; water-fowl confronted in pairs, back to back, and
+also a group of six; small medallions of key-pattern inlaid with
+gold wire.</p>
+
+<p class="right">[B. M., Burges, 19.]</p>
+
+<h5>14. <span class="sc">Writing-box</span>.—<em>Brass, inlaid with
+silver and a little gold.</em> No date. [Late thirteenth
+century.]</h5>
+
+<p>Similar to 12 in shape and general treatment, but the leaves of
+the arabesque ground are now frequently converted into birds, and
+there are no figures: the two birds fighting beak to beak, in
+chased silver inlay, occur repeatedly, and also the
+key-pattern<span class="pagenum" id="Page_222">[222]</span>
+medallions in gold: Arabic benedictory inscriptions on top and
+round sides, and on bottom arabesques on a key-pattern ground:
+inside, fine rosettes of flowers and leaves like Damascus tiles,
+numerous key-pattern medallions in gold wire, flower-scroll
+borders, wild-fowl in panels of six, two Arabic benedictory
+inscriptions, and one circular radiating inscription, viz.:</p>
+
+<p class="arinsc1"><span class="arabic">الجناب العالى المولموى
+الكبيرى المالكى السيدى الهمامى الغياثى الدخرى</span>
+</p>
+
+<p class="nind">“His Highness exalted, lordly, great, royal,
+master, valiant, <em>Ghiyāthy</em>, munificent.”</p>
+
+<p class="right">[B. M., Burges, 20.]</p>
+
+<p>It is dangerous to hazard conjecture as to the identity of the
+prince Ghiyāth-ed-dīn from whom this Mamlūk (retainer) took his
+epithet Ghiyāthy, for the name is not uncommon. It does not,
+however, occur among the Beny Zenky or the Bahry Mamlūks, and it is
+not unreasonable to suppose it to refer to either Edh-Dhāhir or
+El-‘Azīz, son and grandson of Saladin, who both bore the surname,
+and ruled Aleppo from 1186 to 1236. A retainer of the latter might
+easily be living in the second half of the thirteenth century.</p>
+
+<h5>15. <span class="sc">Box</span>.—<em>Brass inlaid with silver
+and a little gold.</em> No date. [Late thirteenth century?]</h5>
+
+<p>Oblong, curved outline. Gold inlay chiefly distributed in
+key-pattern medallions and stars; silver in the confronted birds
+&amp;c.; two groups of four birds within eightfoils on top; on
+front, two birds confronted and two beasts confronted within
+eightfoil, four times repeated, in alternation with arabesques
+likewise enclosed in eightfoils; ground of key-pattern; border of
+beasts of the chase.</p>
+
+<p class="right">[B. M., Henderson, 677.]</p>
+
+<p><span class="pagenum" id="Page_223">[223]</span>The last three
+pieces were in all probability made by the same school of artists.
+They began with the Mōsil-like system of zodiacal and other figures
+(but in a much more finished and delicate manner), adding the
+characteristic mark of this group—the gold-inlaid key-pattern
+medallions—and then omitted the figures and introduced more of the
+waterfowl that afterwards became most prominent on Mamlūk work, and
+also added the typical Damascus rosette ornament. These boxes
+constitute a class by themselves, and arguing from the Damascus
+ornament and the (probably) Aleppo epithet, I have provisionally
+termed it <em>Syrian</em>. A similar writing-box in the South
+Kensington Museum (8993-1863) has a long series of Mamlūk titles,
+none of which identify its provenance.</p>
+
+<h4>III. <span class="sc">Mamluk Work</span>.</h4>
+
+<p>The rule of the Mamlūks in Egypt extended from the middle of the
+13th to the beginning of the 16th century; but there are hardly any
+examples of their metal-work of the 13th century, and the finest
+and most numerous class is that of the Nāsiry Amīrs, or courtiers
+of the Sultan En-Nāsir Mohammad, in the 14th century: this is the
+style which is meant when the term Mamlūk work is employed. Of the
+earlier century, besides the perfume-burner of Mōsil style already
+described bearing the name of Beysary, the chief specimen of 13th
+century work made in Cairo is the bronze plating of the doors of
+Beybars’ mosque <em>extra muros</em>.</p>
+
+<h5>16. <span class="sc">Door-plating of the Mosque of Beybars
+I.</span>, <span class="sc2">A.D.</span> 1268.</h5>
+
+<p>These plaques are now in the South Kensington Museum, having
+been acquired in 1884 from M. de St. Maurice. They consist of a
+central boss, bearing the crest of Beybars, a lion<span class=
+"pagenum" id="Page_224">[224]</span> passant (<a href="#i083">fig.
+83</a>), with twelve geometrically shaped plaques arranged round
+it, each of which contains an arabesque design in open
+filigree-work (<a href="#i083">fig. 84</a>); a smaller boss
+surrounded by nine similar plaques; a knocker (<a href="#i083">fig.
+85</a>); and a border of open arabesque-work (<a href="#i083">fig.
+86</a>) and a portion of an Arabic inscription (<span class=
+"arabic">الاتابكى الملكى الظاهرى</span>) also in open work. Two
+other sets consist of a knocker, bosses, and geometrical plaques
+filled with arabesque designs in open work, arabesque borders, and
+a portion of a Korān inscription. The plaques form systems of 10 in
+these sets; of 12 and 9 in the first set. All these pieces are
+<em>cast</em>, not cut, and are therefore identical each with its
+fellows in the same system, in contrast to the usual character of
+Cairene work, where we seldom find two patterns alike. The
+arabesques are, however, very free and flowing, and the appearance
+of the numerous plaques, fastened all over the door by ribbed
+studs, must have been highly effective. The mosque where these
+doors once hung was built by Sultan Beybars, in the Huseynīya
+quarter of Cairo, in 665-7 (<span class="sc2">A.D.</span> 1266-8),
+and contains many remarkable features.</p>
+
+<div class="figcenter">
+<figure id="i083"><a href="images/fig083.jpg"><img src=
+'images/fig083.jpg' alt='' class="iw10"></a>
+<p class="cp1">FIGS. 83-86.—BRONZE PLAQUES FROM DOOR OF BEYBARS
+I.</p>
+
+<p class="cp1">(<em>South Kensington Museum.</em>)</p>
+</figure>
+</div>
+
+<p><span class="pagenum" id="Page_225">[225]</span>These
+bronze-plaque doors of Beybars are of a different character from
+the bronze doors of the later Mamlūks.<a id=
+"FNanchor_73"></a><a href="#Footnote_73" class="fnanchor">[73]</a>
+The mosques of Cairo present many splendid examples of this later
+style, which usually consists in covering the doors with large
+plates of thin bronze (about ¼ inch), cut out in various arabesque
+patterns, or cast in embossed designs, and chased on the surface,
+and generally distributed in the form of a central circle or oval
+and four corner-pieces, or spandrils, with a border round the four
+sides, secured by ribbed-headed nails. The door itself is of wooden
+planks nailed on to a frame-work behind, and strengthened by bronze
+bands near the top and bottom, which run through, according to Mr.
+Wild, and turn round at the edges, being formed into panels by the
+arabesque border on the front side: it turns on pivots, not hinges.
+Some of these doors are admirably represented in Prisse d’Avenne’s
+<em>L’Art Arabe</em>: for example, the beautiful door of Almās
+(vol. ii. plate 100), where the whole surface is covered with
+bronze plaques, more like the style of Beybars than is common on
+later mosques; that of Sultan Barkūk (pl. 96) with a central
+circular plaque, pointed at top and bottom, four corner-pieces, and
+narrow border; that of Sultan Kansūh El-Ghōry (pl. 102) arranged
+somewhat similarly; and that of Talāi‘ ibn Ruzeyk, as restored by
+Bektemir in the 14th century (pl. 95). There is a splendid bronze
+door to the mosque of El-Muayyad (<span class="sc2">A.H.</span>
+818-23), which was taken from the mosque of Sultan Hasan, where,
+however, the entrance to the tomb chamber is still closed by a
+magnificent gate of bronze inlaid with silver.</p>
+
+<p>From the bronze doors of Beybars, the history of metal-work in
+Cairo leaps over four Sultans to En-Nāsir Mohammad ibn
+Kalaūn,<span class="pagenum" id="Page_226">[226]</span> who reigned
+<span class="sc2">A.D.</span> 1293-4, 1299-1309, and 1310-41, or
+(omitting the first brief rule) during most of the first half of
+the 14th century. En-Nāsir built two noble mosques, and the number
+of works in metal bearing his name and those of his courtiers is
+very large. Among the finest is the beautiful table preserved in
+the Arab Museum at Cairo.</p>
+
+<h5>17. <span class="sc">Table (Kursy)</span>.—<em>Brass, inlaid
+with silver.</em> Made for the Mamlūk Sultan En-Nāsir Mohammad.
+Fourteenth century.</h5>
+
+<p>It is made of filigree brass inlaid with arabesques, flowers,
+water-fowl, and Arabic inscriptions in silver, and is chased all
+over in elaborate profusion. One of the panels, forming a folding
+door, through which no doubt a pan of live charcoal was introduced,
+to warm the tray of food which was placed upon the table, is
+represented in <a href="#i075">fig. 75,</a> where the inscriptions
+on the top border read, <span class="arabic">عز لمولانا السطان
+الملك الناصر ناصر الدنيا والدين محمد بن السلطان الملك المنصور
+الشهيد قلاون الصالحى غز انصاره</span></p>
+
+<p class="nind">“Glory to our lord the Sultan, the king, En-Nāsir
+[the Succourer or Helper], Aid of the church and state, Mohammad,
+son of the Sultan, the king, El-Mansūr [the victorious], the martyr
+[<em>i.e.</em> defunct] Kalaūn, [liegeman] of Es-Sālih [Ayyūb], be
+his triumphs magnified!” The inscriptions in the three other narrow
+borders are practically identical with the above. The large
+inscription in the upper panel is <span class="arabic">محيى العدل
+فى العالمين ‏|‏ ناصر الدنيا والدين</span> “Upholder of justice in
+the world, Aid of the state and church;” while in the circular
+medallions is distributed the inscription, “Glory to our master the
+Sultan | El-Melik En-Nāsir Mohammad ibn | El-Melik El-Mansūr
+Kalaūn.”<a id="FNanchor_74"></a><a href="#Footnote_74" class=
+"fnanchor">[74]</a></p>
+
+<p class="right">[Musée Arabe.]</p>
+
+<h5><span class="pagenum" id="Page_227">[227]</span>18. Another
+brass and silver filigree Table (<em>kursy</em>), preserved in the
+same museum, and stated to have belonged to the Māristān of Kalaūn,
+is represented in <a href="#i074">fig. 74.</a> It has no
+inscriptions, but undoubtedly belongs to the same period as the
+first.</h5>
+
+<p>The characteristic designs of the Cairo metal-workers under
+En-Nāsir Mohammad may, however, best be seen in the large bowl or
+tank described below. As a rule, but not without exceptions, we may
+set down, as characteristic of 14th century Cairo work, the absence
+of figures (except on vessels having astrological uses), the
+prevalence of ducks or other birds in the ground decoration, the
+medallions (enclosing a sort of fess bearing the name of the
+Sultan,) surrounded by a rosette of flowers and leaves resembling
+the patterns of Damascus tiles, the shoals of fish at the bottom of
+bowls, the broad bands of tall bold silver-inlaid letters, the
+large surfaces of inlay, and the little whorl ornament <img src=
+'images/ipg227.jpg' alt='' class="iwinl3"> which
+takes the place of the key-pattern medallion already noticed.</p>
+
+<h5>19. <span class="sc">Large and deep Bowl</span>.—<em>Brass,
+inlaid with silver.</em> Made for the Sultan En-Nāsir Mohammad ibn
+Kalaūn (<span class="sc2">A.D.</span> 1293-1341).</h5>
+
+<p>Ornamented with broad bold zones of Arabic inscriptions, filled
+in with waterfowl and flowers and leaves (which seem to be
+conventionalized ducks’ wings), and divided at regular intervals by
+medallions, enclosing titles on a fess, and enclosed in rosette of
+flowers and leaves.</p>
+
+<p>Large inscription round the outside:—</p>
+
+<p class="arinsc1"><span class="arabic">عز لمولانا السلطان الملك
+‏◯‏ لناصر العامل العادل المجاهد ‏◯‏ ناصر الدنيا والدين محمد بن
+قلاون ‏◯‏</span>
+</p>
+
+<p class="nind">“Glory to our lord the Sultan, the king, the helper
+[El-Melik<span class="pagenum" id="Page_228">[228]</span>
+En-Nāsir], ruler, leonine, fighter for the Faith, Aid of the state
+and church, Mohammad son of Kalaūn.” The medallions enclosed in
+rosettes of flowers indicated by ◯ contain, on a fess, <span class=
+"arabic">عز لمولانا السلطان ا</span> “Glory to our master the
+Sultan the” (<em>sic</em>).</p>
+
+<p>Above and below the large inscription, on a floral ground, six
+little medallions contain <span class="arabic">عز لمولانا
+السلطان</span> “Glory to our master the Sultan,” twelve times
+repeated.</p>
+
+<p>Scratched under rim by later hand <span class="arabic">الصبر
+عبادة</span> “Patience is worship.”</p>
+
+<p>Large inscription inside:—</p>
+
+<p class="arinsc1"><span class="arabic">عز لمولانا السلطان الملك
+الناصر ‏◯‏ العالم العامل العادى المجاهدا ‏◯‏ لمرابط ناصر الدنيا
+والدين محمد بن قلاون عز نصره ‏◯‏</span>
+</p>
+
+<p class="nind">“Glory to our lord the Sultan El-Melik En-Nāsir,
+wise, ruler, leonine, fighter for the Faith, warden of Islam, Aid
+of the state and church, Mohammad son of Kalaūn, be his triumph
+magnified!” The medallions marked ◯ are filled as on the outside:
+but there are no small medallions in the floral border beneath, or
+in the double scroll border above inscription; but the last is
+divided by six whorls.</p>
+
+<p>The bottom is covered with a shoal of fish, in a circular spiked
+border.</p>
+
+<p class="right">[B. M., 51. 1. 4.]</p>
+
+<p>These large inscriptions offer a good example of the method of
+inlaying silver plates. Each letter was scooped out and deepened
+towards the edges, which were slightly under-cut and very
+delicately serrated. As the weak hold thus obtained let the silver
+escape, a later workman seems to have repaired the tank, and
+re-inlaid it by stippling the surfaces with a triangular point and
+rudely serrating the edges. Very little of the silver now remains:
+what there is shows that the surface was delicately chased when the
+subject required it (<em>e.g.</em> birds’ wings).</p>
+
+<p>The South Kensington Museum possesses a large tray of the same
+Sultan, of the sort that is used to carry a meal, splendidly
+engraved and inlaid, as follows:—</p>
+
+<h5><span class="pagenum" id="Page_229">[229]</span>20.
+<span class="sc">Tray</span>.—<em>Brass, inlaid with gold and
+silver.</em> Made for the Sultan En-Nāsir ibn Kalaūn (<span class=
+"sc2">A.D.</span> 1293-1341).</h5>
+
+<p>The principal inscription (<em>a</em>) occupies a large zone on
+the upper surface, and is composed of bold Naskhy letters:—</p>
+
+<p class="arinsc1" dir="rtl"><span class="arabic">عز لملانا السلطان
+ا <span dir="ltr">(<em>m</em>)</span> لملك العالم العا <span dir=
+"ltr">(<em>m</em>)</span> مل العادل العادل عز نصره <span dir=
+"ltr">(<em>m</em>)</span></span>
+</p>
+
+<p class="nind">“Glory to our lord, the Sultan, the king, wise,
+just, ruler, be his triumph magnified!”</p>
+
+<p>At (<em>m</em>) the inscription is broken by medallions
+containing the words <span class="arabic">الملك الناصر</span>
+El-Melik El-Nāṣir, on a fess; and round each medallion runs an
+inscription (<em>b</em>) similar to (<em>a</em>), but adding, after
+<span class="arabic">العادر</span>, <span class="arabic">المجاهد
+المرابط المتاعز المؤيد</span>; the whole enclosed in a belt of
+leaves and flowers.</p>
+
+<p>An inner zone of inscription is similar to (<em>b</em>), but
+continued with the words <span class="arabic">المنصور سلطان الاسلام
+والمسلمين عز نصره</span>, “The victorious, Sultan of Islam and the
+Muslims: be his triumph magnified,” and divided by three similar
+pairs of medallions joined together by a panel of flowers and
+leaves. The right-hand medallion of each pair contains on a fess
+the words (<em>c</em>) <span class="arabic">عز لمولانا
+السلطان</span>, the left, on a shield, an antelope in an
+enclosure.</p>
+
+<p>A third innermost zone of inscription is similar to <em>a</em>,
+but substitutes <span class="arabic">المجاهد</span> for
+<span class="arabic">عز نصره</span></p>
+
+<p>On the outer surface of the rim is the following inscription,
+divided at ◯ by sets of three medallions like (<em>c</em>), joined
+by panels of flowers:—</p>
+
+<p class="right" dir="rtl"><span class="arabic">عز لمولانا السلطان
+الملك الناصر العامل العادل <span dir="ltr">◯ flowers ◯ flowers
+◯</span> العادر المجاهد المرابط المتاعز المؤيد المنضور ناصر الدينا
+والد <span dir="ltr">◯ fl. fl. ◯</span> ين قاتل الكفرة والمشركين
+محيى العدل فى العالمين والفقرا <span dir="ltr">◯ fl. ◯ fl. ◯</span>
+والمساكين السلطان الملك المنصور ناصرالدنيا والدين</span> <span dir=
+"ltr">◯ fl. ◯ fl. ◯</span></p>
+
+<p>“Glory to our lord the Sultan, El-Melik En-Nāsir,” &amp;c.</p>
+
+<p class="right">Diam. 31 in. [S. K. M. 420-1854].</p>
+
+<h5><span class="pagenum" id="Page_230">[230]</span>21.
+<span class="sc">Box</span>.—<em>Brass, inlaid with silver.</em>
+Made for the Overseer Ahmad. [Fourteenth century.]</h5>
+
+<p>The lid is hinged and fastens with a hasp: on the top is a
+radiate Arabic inscription surrounding a shield (on a fess a
+lozenge):—</p>
+
+<p class="arinsc1"><span class="arabic">مما عمل برسم العبد الفقير
+الرجى الغفران من الرب المنان [ا] لمهتار احمد مهتار الامير محمد بن
+ساطلمش الجلالى</span>
+</p>
+
+<p class="nind">“Of what was made by order of the humble servant,
+hoping for forgiveness from the benevolent Lord, the Overseer
+Ahmad, Overseer to the Amīr Mohammad son of Sātilmish, the
+Gelāly.”</p>
+
+<p>On the hollowed rim of the lid is a border of flower-scrolls
+divided by whorls, and below this a border of beasts of the chase
+divided by shields: on a fess, a lozenge.</p>
+
+<p>On the lower part, divided by four medallions containing
+water-fowl, on a ground of large arabesques of early style, are the
+Arabic benedictory verses:</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line center"><span class="arabic">ولا برحت مدا الايام
+فى سعة ‏|‏ بانعم ومسرّات وافضالى</span>
+</div>
+
+<div class="line center"><span class="arabic">لا زلت يا مالكى ما
+دمت فى دعة ‏|‏ وانت من كلّ همّ خالى البالى</span>
+</div>
+</div>
+</div>
+</div>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">Cease not through all thy days to dwell
+at ease,</div>
+
+<div class="line indent2">Where comforts solace thee, and pleasure
+charms:</div>
+
+<div class="line indent0">While breath shall last, my Master,
+cherish peace;</div>
+
+<div class="line indent2">High rest thy heart above the world’s
+alarms.</div>
+</div>
+</div>
+</div>
+
+<p>On the bottom, a beautiful arabesque border surrounds a
+whorl.</p>
+
+<p class="right">[B. M., Blacas. Reinaud, ii. 422.]</p>
+
+<p>The name of the Amīr Mohammad ibn Sātilmish has not yet been
+identified; but a Mamlūk called Sātilmish is mentioned in the
+latter half of the thirteenth century as taking part in the court
+at Cairo; and the style of arabesques on the box, the character of
+the inscriptions, the whorls and shields, undoubtedly indicate a
+Cairo fabric. The title <em>Mihtār</em>, or Overseer, was given to
+the officers who presided over the different departments of a
+princely household.</p>
+
+<div class="figcenter"><span class="pagenum" id=
+"Page_231">[231]</span>
+<figure id="i087" class="iw7"><a href="images/fig087.jpg"><img src=
+'images/fig087.jpg' alt=''></a>
+<p class="cp1">FIG. 87.—BRASS BOWL INLAID WITH SILVER.</p>
+
+<p class="cp2">Fourteenth Century. (<em>British Museum.</em>)</p>
+</figure>
+</div>
+
+<h5><span class="pagenum" id="Page_232">[232]</span>22.
+<span class="sc">Bowl</span>.—<em>Brass, inlaid with silver.</em>
+Made for a Courtier of En-Nāsir. [Fourteenth century.] (<a href=
+"#i087">Fig. 87.</a>)</h5>
+
+<p>Outside, whorl at bottom surrounded by sort of sixfoil, round
+which a lozenge-diaper ornament; ground of Damascus flowers and
+water-fowl; border inscription divided by six whorls enclosed in a
+ring of flying ducks:—</p>
+
+<p class="arinsc1"><span class="arabic">المقر الكريم العا ‏◯‏ لى
+المولوى الاميرى ‏◯‏ الكبيرى العالمى ‏◯‏ العاملى العادى ‏◯‏ المجاهدى
+المرابطى ا ‏◯‏ لملكى الناصرى ا ‏◯‏</span>
+</p>
+
+<p class="nind">“His Excellency, generous, exalted, lordly, great
+Amīr, wise, ruler, leonine, fighter for the Faith, warden of Islām
+[liegeman] of El-Melik En-Nāsir.”</p>
+
+<p>On the bottom, inside, a shoal of fish round a whorl.</p>
+
+<p class="right">[B. M., Henderson, 686.]</p>
+
+<h5>23. <span class="sc">Candlestick with Three
+Feet</span>.—<em>Brass, inlaid with silver.</em> Made for a
+Centurion of En-Nāsir. [Fourteenth century.]</h5>
+
+<p>Engraved with birds and arabesques, the interstices filled with
+black enamel. Round central band, inscriptions in silver inlay,
+recording fourteenth century Mamlūk titles, (including that of
+Captain over 100,) divided by three medallions enclosing birds and
+whorls of eight rays. Height 12 in., diam. 10½ in.</p>
+
+<p class="right">[S. K. M., 912.-1884.]</p>
+
+<p>Another candlestick in the South Kensington Museum (4505-1858),
+is engraved in <a href="#i088">fig. 88.</a></p>
+
+<h5>24. <span class="sc">Stand for Tray</span>.—<em>Brass (with an
+alloy of silver).</em> Made for a Chief Secretary. [Fourteenth
+century.]</h5>
+
+<p>Dice-box shape; engraved with Arabic inscriptions, divided by
+medallions containing coats of arms in floral borders; the
+spaces<span class="pagenum" id="Page_233">[233]</span> filled with
+floral ornaments outlined with black enamel. The inscription
+reads:</p>
+
+<p class="center"><span class="arabic">الجناب العالى المولوى ا ‏◯‏
+السيفى امير دوادار اتابك عز انصاره</span>
+</p>
+
+<p class="nind">“His Highness, exalted, lordly, [liegeman] of
+Seyf-ed-dīn, Chief Secretary, Atābek: be his triumphs
+magnified!”</p>
+
+<p class="right">Height 9½ in., diam. 7⅝ in. [S. K. M.,
+934.-1884.]</p>
+
+<p>The floral ornaments are of the kind already described, the
+Damascus-like leaves and flowers; and the medallions and floral
+borders form a kind of rosette very characteristic of the Nāsiry
+period. The coats of arms consist of a fess bearing a large goblet
+between two smaller ones; above the fess is a hieroglyphic
+inscription <img src='images/ipg233.jpg' alt='[Hieroglyphic]'
+class="iwinl6">, denoting “lord of the Upper and Lower
+country”—which the Mamlūks must have constantly seen on the ancient
+monuments, but were undoubtedly unable to interpret—and beneath is
+a lozenge. The subject of heraldic bearings on Mamlūk works of art
+has been extensively discussed by the late Rogers Bey in a paper
+published in the <em>Bulletin de l’Institut Egyptien</em>. This
+particular coat of arms is not described by Mr. Rogers; but several
+nearly resembling it belong to the Amīrs of the fourteenth century.
+The cup, as a charge, indicates that the bearer held the post of
+Sāky, or cupbearer, to the Sultan or to some great noble.</p>
+
+<h5>25. <span class="sc">Bath Vessel</span>.—<em>Bronze, inlaid
+with silver.</em> Made for a Courtier of En-Nāsir. [Fourteenth
+century.]</h5>
+
+<p>Round edge, Arabic inscription, divided by four shields,
+containing a bend between two stars:</p>
+
+<p class="arinsc1" dir="rtl"><span class="arabic">المقر العالى
+المولوى المالكى ا <span dir="ltr"><img src='images/isym1.jpg' alt=
+'🛡' class="iwinl5"></span> العادلى العاملى العالمى الا <span dir=
+"ltr">(<em>sic</em>)</span> <span dir="ltr"><img src=
+'images/isym1.jpg' alt='🛡' class="iwinl5"></span> المجاهدى المرابطى
+المتاعزى الما <span dir="ltr"><img src='images/isym1.jpg' alt='🛡'
+class="iwinl5"></span> لكى العادلى الملكى الناصرى <span dir=
+"ltr"><img src='images/isym1.jpg' alt='🛡' class=
+"iwinl5"></span></span>
+</p>
+
+<p class="nind">“His Excellence, exalted, lordly, royal, just,
+worker, wise,<span class="pagenum" id="Page_234">[234]</span>
+fighting for the Faith, warden of Islām, powerful, royal, just,
+[liegeman] of El-Melik En-Nāsir.”</p>
+
+<p class="right">[B. M., Burges, 22.]</p>
+
+<p>The intention of the next bowl is certainly magical: the planets
+are to be used astrologically, to secure auspicious results. The
+bowl would be filled with water, which became imbued with the
+mysterious influences of the planets, and then the water would be
+drunk off, or sprinkled on the person. These cups were often made
+at Mekka, in view of the Ka‘ba, which is sometimes represented: so
+much is stated on a cup in the Vatican.</p>
+
+<h5>26. <span class="sc">Bowl or Cup</span>.—<em>Brass, inlaid with
+silver.</em> Made for a Courtier of En-Nāsir. [Fourteenth
+century.]</h5>
+
+<p>Outside, on bottom, seated figures of the planets: the moon, a
+crowned human figure, holding a crescent in two uplifted hands;
+Mars, helmeted and holding sword and bleeding head; Mercury,
+holding a carpenter’s square; Jupiter, seated judge-like, between
+two fish; Venus with pear-shaped lute and wine-cup; Saturn with
+raised staff and purse; the sun should have occupied the centre,
+but is worn off. Ground of arabesques. An inscription round the
+side, divided by three seated aureoled figures holding wine-cups,
+records usual Mamlūk titles of El-Nāsir’s court.</p>
+
+<p>Inside, at bottom, a shoal of fish, arranged in form of
+whorl.</p>
+
+<p class="right">[B. M., Blacas. Reinaud, ii. 359, ff., and pl.
+vii.]</p>
+
+<h5>27. <span class="sc">Tray</span>.—<em>Brass inlaid with
+silver.</em> Made for Sultan Sha‘bān, who reigned <span class=
+"sc2">A.H.</span> 746-7 (<span class="sc2">A.D.</span>
+1345-6).</h5>
+
+<p>Ornamented somewhat in the Nāsiry style, with rosettes and
+geometrical designs, on a ground of bold and rather coarse
+arabesques.</p>
+
+<div class="figcenter"><span class="pagenum" id=
+"Page_235">[235]</span>
+<figure id="i088"><a href="images/fig088.jpg"><img src=
+'images/fig088.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 88.—BRASS CANDLESTICK INLAID WITH SILVER.</p>
+
+<p class="cp2">Fourteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p><span class="pagenum" id="Page_236">[236]</span>A. Large zone of
+inscription:</p>
+
+<p class="arinsc1"><span class="arabic">عز لمولانا السلطان الملك ا
+‏◯‏ لكامل العالم العامل العادل ‏◯‏ العاذر المجاهد سيف الدنيا والدين
+شعبان عز نصره ‏◯‏</span>
+</p>
+
+<p class="nind">“Glory to our lord the Sultan, the king, perfect,
+wise, ruler, just, lenient, fighter for the Faith, sword of the
+state and church, Sha‘bān: be his triumph magnified!”</p>
+
+<p>B. At ◯, medallions:—<span class="arabic">الملك الكامل</span>
+surrounded by a circular inscription, C, similar to that above, but
+omitting <span class="arabic">العامل العادل</span> and <span class=
+"arabic">عز نصره</span>; the whole enclosed in border of boldly
+drawn flowers and leaves.</p>
+
+<p>In the centre of the tray is a sixfoil enclosed in ring of
+inscription (same as C) within double trefoil, outside which a ring
+of inscription similar to A (omitting <span class="arabic">عز
+نصره</span>), divided into three parts by panels of flowers between
+whorls.</p>
+
+<p>The rim is covered with floral borders and whorls.</p>
+
+<p class="right">[B. M., Blacas. Reinaud ii. 439].</p>
+
+<p>A beautiful writing-box, with the name of the same Sultan, and
+decorated with ducks, whorls, and key-pattern, is engraved in
+Prisse.</p>
+
+<p>Reinaud (ii. 441, <em>n.</em>) describes a tray, nearly four
+feet in diameter, which he saw in Paris, and which bore the name of
+Farag son of Barkūk, second of the Burgy or Circassian Mamlūks, who
+reigned (with a year’s interruption) from <span class=
+"sc2">A.H.</span> 801 to 815 (<span class="sc2">A.D.</span>
+1398-1412). Unfortunately he does not tell us the style of
+decoration, the metal or metals, or other details, nor does he
+mention what has become of the tray. The inscription in the midst
+ran: <span class="arabic">عز لمولانا السلطان الملك الناصر فرج بن
+برقوق عز نصره</span>; while a larger inscription included a long
+string of titles. These long and sounding titles are often clearly
+regulated by the space at the artist’s command, and even the words
+themselves are apparently varied to suit the taste. It is probable
+that <span class="arabic">العادر</span>, <span class=
+"arabic">العادى</span>, &amp;c., are merely fanciful alterations of
+<span class="arabic">الغازى</span>.</p>
+
+<div class="figcenter"><span class="pagenum" id=
+"Page_237">[237]</span>
+<figure id="i089"><a href="images/fig089.jpg"><img src=
+'images/fig089.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 89.—BRASS BOWL OF KAIT BEY.</p>
+
+<p class="cp2">Fifteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p><span class="pagenum" id="Page_238">[238]</span><a href=
+"#i089">Fig. 89</a> represents the back of a very beautiful brass
+bowl of the Mamlūk Sultan Kāït-Bey (<span class="sc2">A.D.</span>
+1468-96), which is preserved in the South Kensington Museum (no.
+1325-1856). It is specially noteworthy for the back being
+ornamented with a <em>repoussé</em> arabesque design of great
+beauty, covered with delicate chasing. The inscription on the side,
+inlaid with silver, runs:</p>
+
+<p class="arinsc1"><span class="arabic">عز لمولانا السلطان الملك
+‏◯‏ العادل المجاهد المرابط ا ‏◯‏ لمؤيد المنصور سلطان الاسلام ‏◯‏
+والمسلمين الملك الاشرف ابو النصر قائتباى عز نصره ‏◯‏</span>
+</p>
+
+<p>“Glory to our master the Sultan, the king, just, fighter for the
+Faith, warden of Islām, God-aided, victorious, Sultan of Islām and
+the Muslims, the most noble king [El-Melik El-Ashraf], Father of
+Victory, Kāït Bey: be his triumph magnified.” At ◯ are four
+medallions, characteristic of Kāït Bey’s monuments and all his
+works; they contain his name and style, as below:—</p>
+
+<div class="figcenter">
+<figure id="ipg238"><a href="images/ipg238.jpg"><img src=
+'images/ipg238.jpg' alt='' class="iw20"></a>
+<p class="cp2"><span class="arabic">ابو النصر قائتباى</span>
+</p>
+
+<p class="cp2"><span class="arabic">عز لمولانا السلطان الملك
+الاشرف</span>
+</p>
+
+<p class="cp2"><span class="arabic">عز نصره</span>
+</p>
+</figure>
+</div>
+
+<p>Among the purposes to which metal-work was applied was the
+manufacture of large chandeliers or lanterns for mosques. Some of
+these are still hanging before the niches but most of them have
+been taken away. Coste illustrates a bronze lamp of Sultan Hasan
+(fig. 23), and two are seen hanging in his representation of that
+mosque (fig. 25), besides the usual small plain glass lamps: but
+Coste was quite capable of inserting such details for the sake of
+artistic effect, and their presence in his drawing is hardly a
+proof that they really existed. Coste also gives a large lamp to
+the mosque of Kāït-Bey; and in Prisse there is an
+illustration<span class="pagenum" id="Page_239">[239]</span>
+(reproduced in <a href="#i076">fig. 76</a>) of a silver lamp of
+Beybars II. of the shape of the usual enamelled glass lamps, but
+made of filigree work, hung by fine metal straps, which, however,
+are imperfectly rendered in the woodcut. An engraving of an early
+undated metal lamp of the same form, which comes from Jerusalem,
+and is now in the Louvre, is reproduced (<a href="#i090">fig.
+90</a>) from M. de Longpérier’s <em>Œuvres</em>. Another form is
+that of a chandelier, of a conical shape, surrounded by numerous
+little glass globes to hold oil and wicks. An example of this kind
+(from the mosque of ‘Abd-el-Basit, and now in the Arab Museum at
+Cairo), made of filigree iron with a bright copper band, is shown
+in <a href="#i077">fig. 77,</a> and <a href="#i078">fig. 78</a>
+represents a bronze tray (intended to be suspended beneath a
+chandelier), covered with chasing, and bearing the name and titles
+of the last of the Mamlūk Sultans, Kansūh El-Ghōry (<span class=
+"sc2">A.D.</span> 1501-1516).</p>
+
+<p>The art of metal-working survives in Cairo, as has been said, to
+the present day. The finer style of bronze door was made in
+perfection so late as last century, as may be seen from M. Prisse’s
+engraving of the door of ‘Abd-er-Rahmān Kikhya (<span class=
+"sc2">A.D.</span> 1760), which is as delicately wrought as any
+earlier example. In the present day the coppersmiths of Cairo make
+trays and ewers and other common utensils decorated with
+considerable skill in the style of the Mamlūk work, and sometimes
+with much elaboration of ornament, including inlay of gold
+wire.</p>
+
+<p class="space-above15">The results of the foregoing examination
+of the history of Saracenic metal-work may be roughly summarized in
+the following genealogical tree:—</p>
+
+<table class="tree tabw50 treesize1 pb" id="t240">
+<colgroup>
+<col class="colw1">
+<col class="colw1">
+<col class="colw3">
+<col class="colw3">
+<col class="colw3">
+<col class="colw3">
+<col class="colw3">
+<col class="colw3">
+<col class="colw2">
+<col class="colw2">
+<col class="colw2">
+<col class="colw2">
+</colgroup>
+
+<tr>
+<td colspan="12" class="tdc"><span class="pagenum" id=
+"Page_240">[240]</span>MŌSIL WORK.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td colspan="9" class="tdl hang1 sect05top">[Descended from the
+Assyrian metal-workers, and probably existing in very early times
+and in continuous development, but represented in collections not
+earlier than the thirteenth century, and apparently ceasing to
+produce the best work in the same or the fourteenth century.]</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="brb">
+</td>
+<td class="blb">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td>
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">FĀTIMY WORK.</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdl hang1 sect05top">[Probably the offspring
+of Mōsil, but at a very early period, perhaps ninth or tenth
+century. The art rests on historical evidence; but there is a lack
+of examples in metal-work in the collections.]</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="4" class="tdc">EARLY SYRIAN WORK.</td>
+</tr>
+
+<tr>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="blt">
+</td>
+<td colspan="4" class="tdl hang1 sect05top">[Containing Mōsil
+elements with certain local characteristics, probably peculiar to a
+Damascus or Aleppo school. Examples belong probably to late
+thirteenth century.]</td>
+</tr>
+
+<tr>
+<td colspan="2" class="tdc">SICILIAN WORK.</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td colspan="6" class="tdc">MAMLŪK WORK.</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td colspan="6" class="tdl hang1 sect05top">[Containing Fātimy (or
+Mōsil) and Syrian characteristics. Numerous examples, chiefly of
+the fourteenth century.]</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="blb">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td class="bline">
+</td>
+<td>
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td class="brt">
+</td>
+<td class="linel">
+</td>
+<td class="liner">
+</td>
+<td class="linel">
+</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="4" class="tdc">SARACENIC WORK OF VENICE.</td>
+</tr>
+
+<tr>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td>
+</td>
+<td colspan="4" class="tdl hang1 sect05top">[Derived from Syrian
+and Mamlūk schools. Examples chiefly from the early sixteenth
+century.]</td>
+</tr>
+</table>
+
+<p class="center small"><a href="images/ipg240.jpg">[JPG]</a>
+</p>
+
+<div class="figcenter"><span class="pagenum" id=
+"Page_241">[241]</span>
+<figure id="i090"><a href="images/fig090.jpg"><img src=
+'images/fig090.jpg' alt='' class="iw11"></a>
+<p class="cp1">FIG. 90.—LAMP FROM JERUSALEM.</p>
+
+<p class="cp2">(<em>Louvre.</em>)</p>
+</figure>
+</div>
+
+<h3><span class="pagenum" id="Page_242">[242]</span>2.
+<em>Goldsmith’s work and Jewellery.</em></h3>
+
+<p>The Prophet Mohammad entertained a religious dislike to the
+luxury of gold ornament, and cautioned the women of Arabia against
+the use of tinkling anklets. Nature, however, was occasionally too
+strong for the Prophet, and although the mass of the male Muslims
+observe a strict sobriety in their dress, weave cotton with their
+silk, and prefer silver to gold for their sole ornament, the signet
+ring, there are always some whose passion for display overcomes the
+scruples of conscience; and the women, of course, cannot exist
+without a little jewellery. We read in the annals of Egypt of
+extraordinary quantities of precious stones preserved in the
+treasuries of princesses and khalifs. ‘Abda, the daughter of the
+Fātimy Khalif El-Mu‘izz, left at her death five bushels of emeralds
+and a prodigious amount of rubies and precious stones of all sorts.
+The Khalif El-Mustansir, this lady’s nephew, possessed quantities
+of emeralds, pearl necklaces, gold and silver and amber rings,
+caskets set with jewels, figures of birds and animals adorned with
+precious stones, a table of sardonyx, and a jewelled turban. As a
+rule, however, we read more of large objects set with jewels than
+of small ornaments of attire, and this is explained by the fact
+that jewellery is principally employed by women, and therefore
+cannot be described in detail by Mohammadan historians, who are
+bound in delicacy to ignore the fair sex. Thus the seclusion of
+ladies in the East makes it difficult to trace the history of
+Saracenic jewellery, and the difficulty becomes insuperable when it
+is discovered that no specimens of the mediaeval jewellery of the
+Egyptian ladies have come down to us with a certain date.</p>
+
+<p>In the absence of dated examples of mediaeval Egyptian
+jewellery, we are forced to work backwards from the existing
+productions of the jeweller’s market at Cairo, and endeavour
+to<span class="pagenum" id="Page_243">[243]</span> deduce the
+probable character of the earlier work. There can be little doubt
+that many of the ornaments now manufactured in Cairo represent
+ancient patterns, which have been handed from father to son in the
+goldsmiths’ traditions for several centuries. The ordinary
+bracelet, composed of two plain bands enclosing a double or single
+twisted band is certainly an old design, and has worn the same
+shape and shown the same character of ornament for many
+generations. So, no doubt, have the anklets with square heads cut
+in facets. A description of the ornaments now made at Cairo—which
+is all that is attainable—may therefore not improbably represent
+the same general character of jewellery as that worn by the famous
+Queen Sheger-ed-durr, “Tree of Pearls,” who repulsed St. Louis with
+her gallant Mamlūk troops.</p>
+
+<p>The modern jewellery of Cairo has been so exhaustively described
+and illustrated by Mr. Lane, in an Appendix to his <em>Modern
+Egyptians</em>, that it is only necessary to summarize his account
+and refer to his engravings. A Cairo lady’s ornaments consist in
+various additions to her head-dress and hair, in ear-rings,
+necklace, bracelets, anklets, and amulets. The head-dress is
+composed of a tarbūsh or fez, round which is wound a kerchief
+(<em>rabta</em>). To the crown of the tarbūsh is sewn the boss-like
+ornament called a <em>kurs</em>, about five inches in diameter, and
+ornamented with diamonds set in gold filigree-work. In the present
+day the diamonds and gold are alike of poor quality, and a good
+<em>kurs</em> is not worth more than £150. Even the wives of
+tradesmen, who are usually devoted to diamonds, manage to buy some
+sort of <em>kurs</em>, though it is a heavy, uncomfortable
+ornament, and produces headache when put on, and also when taken
+off, so that many ladies, when once their heads are hardened to its
+weight, wear it night and day. A common kind of <em>kurs</em> is
+made of a thin gold plate, embossed with a pattern, and having a
+false emerald set in the middle.</p>
+
+<p>Attached to the kerchief, over the forehead, is worn the
+<em>kursa</em>, a band of diamonds, emeralds, or rubies, set in
+gold, generally with pendants, about seven inches long. On either
+side of the<span class="pagenum" id="Page_244">[244]</span>
+kerchief hang festoons of pearls, connected together by a pierced
+emerald, and fastened at the front to the <em>kursa</em>, and at
+the other end to the back of the kerchief, or to the ear-ring.
+Sometimes a sprig (<em>rīsha</em>) or crescent (<em>hilāl</em>) of
+diamonds set in gold or silver is worn, instead of the
+<em>kursa</em> and pearls, on the front or side of the kerchief;
+and another favourite ornament is the <em>kamara</em>, or
+pear-shaped gold plate, embossed with Arabic letters or a pattern,
+and having flat gold pendants hanging beneath. There are several
+varieties of this ornament, in the shape of a <em>sakīya</em>, or
+water-wheel, a comb, &amp;c., with distinctive names, the most
+curious of which is <em>‘Ūd-es-Salīb</em>, “Wood of the Cross,”
+which is clearly of Coptic origin.</p>
+
+<p>The ear-rings (<em>halak</em>) are not remarkable. They consist
+of diamonds, pearls, emeralds, rubies, &amp;c., set in gold, with
+sometimes a sprig of floral filigree-work above the drop. The
+necklace (<em>‘ikd</em>) is seen in great variety, but with this
+peculiarity, that it does not completely encircle the neck, being
+but ten inches long; the connecting piece of string is covered by
+the hair, which is generally ornamented with strings of gold
+ornaments and coins. There is usually a bead or link larger than
+the rest in the middle, or also at fixed intervals. Pearls strung,
+diamonds set in gold, and hollow gold beads, form the usual links
+of the necklace.</p>
+
+<p>Cairene jewellers do not cut their diamonds and emeralds in
+facets, as this would induce a belief that they were false; but
+they commonly pierce the emeralds. Both customs, of course, destroy
+the beauty of the jewels.</p>
+
+<p>More characteristic than the necklaces are the bracelets
+(<em>asāwir</em>) and anklets (<em>khulkāl</em>), which are
+commonly of solid silver, or even gold. Simple twist for gold, and
+a twist set in plain bands for silver, are the most usual patterns
+of bracelets, and are doubtless of high antiquity. The anklets are
+heavy, and clank together as the lady walks, so that the poet
+says:</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">“The clink of thine anklets has bereft me
+of reason.”</div>
+</div>
+</div>
+</div>
+
+<p><span class="pagenum" id="Page_245">[245]</span>The amulet
+(<em>higāb</em>) is a little silver or gold box, embossed and
+adorned with pendants, containing a chapter from the Korān or other
+charm, covered with waxed cloth, and is suspended at the right side
+above the girdle by a cord passing over the left shoulder.</p>
+
+<div class="figcenter">
+<figure id="i091"><a href="images/fig091.jpg"><img src=
+'images/fig091.jpg' alt='' class="iw14"></a>
+<p class="cp1">FIG. 91.—ARMS FOR LION HUNTING.</p>
+</figure>
+</div>
+
+<p class="space-above15">There is another branch of metal-work of
+which nothing has<span class="pagenum" id="Page_246">[246]</span>
+been said: we know almost nothing of Mamlūk armour; and although
+there is undoubtedly a “Market of Arms” in Cairo which once plied a
+busy trade, it is doubtful whether their work did not chiefly
+consist in fitting and adapting the weapons and armour of Persia
+and the Indies. Two helmets in the Tower of London have indeed an
+Egyptian look, and I should be inclined to ascribe them to Cairo
+workmen of the period of Kalaūn (end of the thirteenth century).
+These are, however, quite exceptional; and most of the arms
+attributed to Egypt are undoubtedly Syrian or Persian. It must not
+be forgotten that, to the Mamlūks, Damascus was almost as much
+their capital as Cairo; and while Damascus blades were to be had
+there was little inducement for the establishment of an Egyptian
+school of armourers. The list of Beybars’ presents (<a href=
+"#Page_28">p. 28</a>) includes Damascus weapons, and pikes tempered
+by the Arabs, but no Cairo armour is mentioned.</p>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_247">[247]</span><a id=
+"c08"></a>CHAPTER VIII.</h2>
+
+<p class="sch1">GLASS.</p>
+
+<p class="nind"><span class="sc">It</span> is interesting to remark
+that the Saracens, while they had to begin with no art of their
+own, and learned all their aesthetic training from their foreign
+subjects, yet contrived to introduce some element of distinctive
+originality into almost every branch of artistic work. Thus the
+carved panels of the Cairo pulpits are a genus by themselves; only
+in Cairo can such work be seen. The metal-work of Mesopotamia,
+Damascus, and Cairo, is wholly unlike any other metal-work in the
+world, except that which was avowedly an imitation of it. It is not
+merely that the designs are varied, or new shapes introduced; the
+whole character of the work is distinct from any other style. The
+chased inlay of silver in the metal-work, and the self-contained
+arabesques and geometrical panelling of doors, ceilings, and
+stone-work, are features which we may seek in vain to match in
+Europe.</p>
+
+<p>So is it with their glass; it is absolutely unique in character.
+Without prejudging the question whether some of the mosque lamps
+were imitated in Italy or not, at least no one will dispute that
+they form a distinct class by themselves, and that no other glass
+resembles them in the shape, the general style, or the details of
+the ornament. Nor do the stained glass windows of the mosques and
+houses of Cairo offer any analogy to the windows of our cathedrals,
+or any other windows at all. In glass, as in most other artistic
+industries, the differentiating genius of the Saracen artist
+displays itself in a special character persistently maintained
+through many centuries.</p>
+
+<p>The oldest glass in the world belongs to Egypt. The
+dull<span class="pagenum" id="Page_248">[248]</span> green and
+opaque blue glass of the Pharaohs is well known, and there can be
+little doubt that the art was not suffered to die out under the
+Greek and Roman governors, though examples of these periods are not
+numerous. The Arab and other Mohammadan rulers of this province of
+the Muslim empire encouraged the manufacture of glass, at least in
+the insignificant form of small weights for testing the accuracy of
+coins. The British Museum possesses a large collection of these
+glass weights, bearing inscriptions which assign them to definite
+dates. Some have the names of the early Egyptian governors under
+the Damascus and Baghdād Khalifs, of the eighth and ninth
+centuries, but most of them present the names of the Fātimy Khalifs
+of the tenth and especially of the eleventh century, more rarely
+the twelfth. These coin weights prove at least that the making of
+glass had not become a lost art in Egypt. We read in the life of
+St. Odilo, bishop of Fulda, of a <em>vas pretiosissimum vitreum
+Alexandrini generis</em>, which was on the table of the Emperor
+Henry in the first half of the eleventh century. There is a vase in
+the treasury of St. Mark’s, at Venice, of nearly opaque turquoise
+paste, inscribed with Arabic characters, which may probably be of
+the tenth century. “The bowl is five-sided, and on each side is the
+rude figure of a hare. These figures, as well as the inscription,
+are in low relief, and were probably cut with the wheel. The
+setting is in filigree, with stones and ornaments of cloissonné
+enamels.”<a id="FNanchor_75"></a><a href="#Footnote_75" class=
+"fnanchor">[75]</a> Cups of rock crystal of the same century are in
+existence and are frequently mentioned by the Arab historians, who
+even describe thrones and other large objects made of this mineral,
+which offers some analogy to glass in the process of cutting on the
+wheel, and which must have induced imitations in the cheaper
+substance.</p>
+
+<p>Most of the existing glass-work of Egypt, however, belongs to
+the fourteenth century, and consists of lamps intended to be
+suspended in the mosques of Cairo. “All show that the<span class=
+"pagenum" id="Page_249">[249]</span> makers were tolerably expert
+glass-blowers, and could produce vessels of considerable size; but
+the glass is of bad colour and full of bubbles and imperfections.
+The makers had learnt, probably from the Byzantines, the art of
+gilding and enamelling glass, and made much use of it. Inscriptions
+in large characters are favourite ornaments; figures of birds,
+animals, sphinxes, and other monsters, are found. The outlines are
+generally put on in red enamel, the spaces between being often
+gilt. The enamels are used sometimes as grounds and sometimes for
+the ornaments; the usual colours are blue, green, yellow, red, pale
+red, and white.”<a id="FNanchor_76"></a><a href="#Footnote_76"
+class="fnanchor">[76]</a></p>
+
+<p>There is every reason to believe that these mosque lamps were
+made at Cairo, or at all events that the best and oldest specimens
+were made there,<a id="FNanchor_77"></a><a href="#Footnote_77"
+class="fnanchor">[77]</a> though the coarser and more modern sort
+has been attributed to imitators at Murano (Venice), who are
+believed to have worked for the Mamlūk Sultans. It is true that
+Damascus and Tyre had a greater name for glass-working;
+Nāsir-i-Khusrau, remarks that Tyre exported glass vessels worked on
+the wheel; William of Tyre writes to the same effect; and Benjamin
+of Tudela, in the twelfth century, speaks of ten
+glass-manufacturers at Antioch, and four hundred Jews at Tyre (Sūr)
+“shipowners and manufacturers of the celebrated Tyrian glass.” In
+the Royal Inventories of France are notices of several glass
+vessels, among the possessions of Charles V., in 1380, described as
+“of the Damascus style,” among others <em>une lampe de voirre
+outrée en façon de Damas sans aucun garnison</em>. It was, however,
+the custom among our mediaeval chroniclers to regard Damascus as
+the centre of Saracenic art, and to call everything Oriental <em>à
+la façon de Damas</em>, and the term must not be pressed too far.
+Some lamps may, indeed, be the product of the glass-workers of Tyre
+or Damascus; and one in the South Kensington Museum is stated to
+have come from a mosque<span class="pagenum" id=
+"Page_250">[250]</span> which seems to be near Damascus, and
+another believed to be from Damascus is in the British Museum. Most
+of the Cairo lamps, however, were doubtless made in the city where
+they were destined to hang, or at the not far distant Mansūra,
+famous for its glass-works. It must always be remembered that the
+probability of fragile objects, such as glass and pottery, being
+made in the immediate neighbourhood of their destination is very
+strong, in the absence of distinct evidence of importation. We know
+that there were glass-works at Cairo. Nāsir-i-Khusrau<a id=
+"FNanchor_78"></a><a href="#Footnote_78" class="fnanchor">[78]</a>
+states that a transparent glass of great purity was, in his time,
+made at Misr, by which he means Fustāt, or Old Cairo; and if he had
+not said this, the numerous fragments which are constantly picked
+up on the mounds of rubbish which lie between Cairo and the site of
+Fustāt would be proof enough. It is curious, however, that lamps
+should be almost the only objects of glass that seem to have been
+made at Cairo. It is recorded that the Mamlūks used glass
+drinking-vessels, and so much might be inferred from the
+representation of cups on their metal-work, which are plainly
+intended for glass or horn vessels. Nevertheless, there is a
+complete absence of mediaeval glass cups, or other vessels of
+undoubted Egyptian manufacture; and the only glass objects besides
+the lamps are a few bottles, decorated with enamel like the lamps,
+but in more delicate lines, chiefly of red and gold; and the coin
+weights, to which we have already referred.</p>
+
+<p>Of the enamelled glass mosque lamps there are five examples of
+the finest kind at the British Museum, three equally superb
+specimens belong to the South Kensington Museum, besides four
+others exhibited there on loan by the Khedive. A few are to be
+found in private collections, of which that of M. Charles Schefer,
+at Paris, is among the most remarkable; Mr. Magniac has a lamp of
+Sultan Hasan, and Linant Pasha had others of the Amīrs Sheykhū and
+Almās. So few now come into the market that the<span class=
+"pagenum" id="Page_251">[251]</span> price of such examples as are
+offered for sale is absurd. Very few of these lamps are now seen
+hanging in their proper places in the sanctuary of the mosques; I
+only noticed two or three in all the mosques of Cairo in 1883. This
+is partly due to the risk of their being carried off by
+enterprising collectors, to whom the guardians of the mosques, who
+have long known the market value of their treasures, are not
+indisposed to sell them for an adequate bribe; and partly to the
+circumstance that the Commission for the Preservation of the
+Monuments of Cairo, alive to the dangers to which these magnificent
+objects were exposed, by the cupidity of travellers and the
+venality of natives, instituted a rigorous search and removed all
+the lamps they could find to the safety of the Museum of Arab Art.
+Here, when I examined the collection in 1883, were about eighty
+glass lamps, chiefly derived from the mosques of Sultan Hasan,
+Barkūk, and Kāït Bey. As there were several lamps which were
+precise duplicates of others in the collection, I suggested to the
+Khedive that four of these duplicates should be sent on loan to
+South Kensington, and his Highness readily gave the necessary
+authorisation.<a id="FNanchor_79"></a><a href="#Footnote_79" class=
+"fnanchor">[79]</a> The following description of these four lamps
+will show the general character of this branch of Saracenic
+glass-work.</p>
+
+<p>The first lamp (Arab Museum, No. 24) bears the name and titles
+of Sultan Hasan, who reigned from 1347 to 1361, with brief
+intervals of deposition. It is ornamented with Arabic inscriptions,
+medallions, and other decorations, in enamelled colours, and had
+six loops for suspension, one of which is broken off, leaving a
+small hole. The colours of the enamel are chiefly cobalt and red,
+with a touch here and there of pale green and white. The glass is
+thick and muddy, with numerous striae, as is the case with all
+Saracenic lamps. The decoration is arranged<span class="pagenum"
+id="Page_252">[252]</span> in a series of five bands, the position
+of which is indicated in the accompanying skeleton outline:—</p>
+
+<div class="box-float-right">
+<div class="figfloat iw17">
+<figure id="i092"><a href="images/fig092.jpg"><img src=
+'images/fig092.jpg' alt=''></a>
+<p class="cp1">FIG. 92.</p>
+
+<p class="cp1">DIAGRAM OF GLASS LAMP.</p>
+</figure>
+</div>
+</div>
+
+<p class="nind"><em>A</em>, on the neck, interrupted by three
+medallions, <em>a, a, a</em>; <em>B</em>, at the junction of the
+neck and body of the lamp; <em>C</em>, surrounding the body and
+containing the main inscription, interrupted by the glass loops for
+attaching the silver chains that attached the lamp to the beams or
+ceiling of the mosque; <em>D</em>, on the lower curve of the body;
+and <em>E</em>, on the foot. This division is common to most of the
+lamps with which I am acquainted, but the ornament of course varies
+greatly in different examples.</p>
+
+<p>The inscriptions on the five bands are as follows:—</p>
+
+<p class="center"><em>A</em>. <span class="arabic" dir="rtl">الله
+نور السموات والارض <span dir="ltr">(<em>a</em>)</span> مثل نوره
+كمشكاة فيها <span dir="ltr">(<em>a</em>)</span> مصباح المصباح
+<span dir="ltr">(<em>a</em>)</span></span></p>
+
+<p class="nind">“God is the Light of the heavens and the earth; His
+light is as a niche in which is a lamp, the lamp:” here the
+inscription breaks off, it should continue <span class="arabic">فى
+زجاجة الزجاجة كأنها كوكب درّى</span> “in a glass, the glass as it
+were a glittering star.”—<em>Korān</em>, xxiv. 35. The Arabic
+letters are in cobalt, the shading lines and ornaments, which are
+very delicately traced, are in red.</p>
+
+<p><em>a, a, a.</em> Three medallions, each bearing, on a fess
+indicated in<span class="pagenum" id="Page_253">[253]</span>
+outline by thin red lines, the inscription thrice repeated:
+<span class="arabic">عز لمولانا السلطان الملك</span> “Glory to our
+lord the Sultan the king,” written in thin red lines.</p>
+
+<p><em>B.</em> Six fleurs-de-lis, in green and red, with red line
+ornament between.</p>
+
+<p class="center"><em>C.</em> <span class="arabic" dir="rtl">عز
+لمولانا <span dir="ltr">(<em>loop</em>)</span> السلطان <span dir=
+"ltr">(<em>l.</em>)</span> الملك ا <span dir=
+"ltr">(<em>l.</em>)</span> لناصر ناصر ا <span dir=
+"ltr">(<em>l.</em>)</span> لدنيا والدين <span dir=
+"ltr">(<em>l.</em>)</span> حسن بن محمد عز نصره <span dir=
+"ltr">(<em>l.</em>)</span></span></p>
+
+<p class="nind">“Glory to our lord the Sultan the king, the helper
+[En Nāsir], Aid of the state and church, Hasan son of Mohammad: be
+his triumph magnified!” These words are formed by the glass being
+left plain in the midst of a ground of cobalt enamel. In earlier
+examples the plain portions would have been gilt.</p>
+
+<p><em>D.</em> Three medallions similar to <em>a, a, a,</em> but
+the inscriptions slightly imperfect, divided by floral ornaments in
+red, green, and blue.</p>
+
+<p><em>E.</em> Ornament in fine red outline, within blue
+border.</p>
+
+<p class="space-above15">The second lamp (Arab Museum, No. 40) is
+similar to this in the inscriptions, the arrangement, and the
+colours, and differs only in substituting for the fleurs-de-lis of
+band <em>B</em>, six ornaments in blue, divided by red outline
+tracings.</p>
+
+<p>The third lamp (Arab Museum, No. 47), which has lost its foot,
+has much less inscriptional ornament, and more floral decoration.
+Band <em>A</em> has, instead of the Arabic inscription, arabesque
+scroll-work in blue, divided by medallions similar to those (<em>a,
+a, a</em>) of the first lamp, and bearing the same inscription.
+<em>B</em> is decorated with three red and three green circular
+splashes, arranged alternately: these daubs are very common on
+lamps of this period. <em>C</em> has no inscription, but a
+conventional floral design repeated six times with slight
+variations, and divided by the six loops for suspension. <em>D</em>
+has three medallions like <em>a, a, a,</em> with the same
+inscription, divided by red outline ornamentation enclosed in blue
+border within outer border of red. <em>E</em> is broken<span class=
+"pagenum" id="Page_254">[254]</span> off. The inscriptions, it will
+be observed, do not give the name of any Sultan, but the lamp is
+stated to have been taken, like the other two, from the mosque of
+Hasan.</p>
+
+<p>The fourth of the Khedive’s lamps (Arab Museum, No. 11) belonged
+to the mosque of Sultan Barkūk, (in the Coppersmiths’ Market at
+Cairo,) who ruled in the last two decades of the fourteenth
+century. The inscriptions and ornament are arranged in much the
+same manner as on the first lamp of Sultan Hasan. Band <em>A</em>
+presents the same inscription as that lamp, but perfect to the
+words <span class="arabic">كوكب درّى</span>, “glittering star.” The
+medallions <em>a, a, a,</em> however, contain the following
+inscription thus arranged, written in fine red lines within a blue
+border, outside which is another border of fine red line
+ornamentation:—</p>
+
+<table class="padded1" id="t254">
+<tr>
+<td class="tdc arabic bbdb">الظاهر</td>
+<td class="tdc">the Illustrious</td>
+</tr>
+
+<tr>
+<td class="tdc arabic bbdb">عز لمولانا السلطان</td>
+<td class="tdc">Glory to our lord the Sultan</td>
+</tr>
+
+<tr>
+<td class="tdc arabic">الملك</td>
+<td class="tdc">the King</td>
+</tr>
+</table>
+
+<p><em>B</em> is decorated with six splashes of pale green and red
+alternately, as on the third lamp.</p>
+
+<p><em>C</em> has the inscription—</p>
+
+<p class="center" dir="rtl"><span class="arabic">عز لمولانا
+<span dir="ltr">(<em>loop</em>)</span> السلطان <span dir=
+"ltr">(<em>l.</em>)</span> الملك <span dir=
+"ltr">(<em>l.</em>)</span> الظا <span dir=
+"ltr">(<em>l.</em>)</span> هر ابو سعيد <span dir=
+"ltr">(<em>l.</em>)</span> انصره الله <span dir=
+"ltr">(<em>l.</em>)</span></span>
+</p>
+
+<p class="nind">“Glory to our lord the Sultan, the king, the
+Illustrious [Edh-Dhāhir] Abu-Sa‘īd, whom God assist.” The letters
+are in plain glass, defined by the blue ground, as on the first
+lamp.</p>
+
+<p><em>D.</em> Three fleurs-de-lis and three double fleurs-de-lis
+arranged alternately in blue borders; the single fleur-de-lis also
+enclosed in outer red border as on the first lamp. On the foot,
+<em>E</em>, are coarse flowers in red and greenish white in blue
+scroll borders.</p>
+
+<p>These are good examples of the most ordinary type of Saracenic
+glass lamp, with the usual mode of decoration. The three
+other<span class="pagenum" id="Page_255">[255]</span> lamps in the
+South Kensington Museum, purchased in 1860, 1869, and 1875, are all
+rather exceptional in their inscriptions and ornament, though these
+are arranged in the same manner as in the Khedive’s lamps. They are
+more choice, and the small one, of Kāfūr Es-Sālihy, from its
+unusually small size, and from its probably early date, is the gem
+of the collection.</p>
+
+<p><em>Glass lamp<a id="FNanchor_80"></a><a href="#Footnote_80"
+class="fnanchor">[80]</a> of Kāfūr Es-Sālihy</em>, probably of the
+thirteenth century, enamelled in colours and gilt, the latter
+unusually well-preserved. Height, 10¼ in. [S. K. M.,
+6820.-1860.]</p>
+
+<p>“The ornament appears to have been traced in fine lines of red
+enamel, and the spaces between the lines filled in some cases with
+coloured enamels, in others with gilding. The whole work is
+carelessly executed, but very effective.” On the neck is a broad
+band on which is an inscription in blue divided into three parts by
+three medallions, the centres of which are occupied by a white
+sixfoil flower on a red ground.</p>
+
+<p>This inscription (<em>A</em>) reads—</p>
+
+<p class="center"><span class="arabic">مما عمل برسم الجناب ‏◯‏
+العالى اﻟ ‏◯‏ ﻤولوى البكى</span>
+</p>
+
+<p class="nind">“Of what was made by order of his Highness the
+exalted, the Lord, the Bey.”</p>
+
+<p>On the body of the lamp (<em>C</em>), divided by three loops for
+suspension, is the following inscription, originally gilt on a blue
+ground, in continuation of <em>A</em>:—</p>
+
+<p class="center" dir="rtl"><span class="arabic">كافور الرومى الحر
+<span dir="ltr">(<em>l.</em>)</span> بدر الملكى اﻟ <span dir=
+"ltr">(<em>l.</em>)</span> لصالحى عز انصاره <span dir=
+"ltr">(<em>l.</em>)</span></span>
+</p>
+
+<p class="nind">“Kāfūr Er-Rūmy, El-Harīdy, [liegeman] of El-Melik
+Es-Sālih: be his triumphs magnified!”</p>
+
+<p><span class="pagenum" id="Page_256">[256]</span>On the
+under-side of the body the devices in medallions are repeated,
+separated by floral ornament, chiefly gilt on a blue ground; on the
+foot are three twelve-foiled medallions in blue, in which are
+arabesques in blue, white, yellow, green, and red, on a gilt
+ground.</p>
+
+<p><em>Glass lamp of the Mamlūk Amīr Ākbughā</em>, fourteenth
+century, enamelled with circular disks and medallions in white,
+red, and blue, with three suspending chains of silver. Height, 13
+in. [S. K. M., 1056.-1869.] <a href="#i093">Fig. 93.</a></p>
+
+<p>“This very fine specimen resembles the preceding very closely as
+regards the character both of the glass and of the ornamentation.”
+On the neck, three medallions divide an inscription in blue
+enamel:—</p>
+
+<p class="center"><em>A.</em> <span class="arabic">فى بيوت اذن الله
+ان ترفع ويذكر فيها اسمه يبّح له فيها بالغدوّ</span></p>
+
+<p class="nind">“In the houses which God hath permitted to be
+raised for His name to be commemorated therein, men celebrate his
+praises morning” [and evening].—<em>Korān</em>, xxiv. 36.</p>
+
+<p>In the centre of the medallions is a device: on a fess gules, a
+lozenge argent; the ground of the medallion is also white.</p>
+
+<p>“On the upper part of the body are eleven sixfoil medallions
+formed by a blue line, the grounds within which were probably gilt.
+On these are lines very carelessly sketched in red, some of which
+show some resemblance to the outlines of birds.” There were six
+loops for suspension, one of which is broken, dividing the
+inscription <em>C</em>, which is in blue characters with red edges
+on a gilt ground:—</p>
+
+<p class="arinsc1"><em>C.</em> <span class="arabic" dir="rtl">مما
+عمل برسم الجناب <span dir="ltr">(<em>l.</em>)</span> العالى المولوى
+<span dir="ltr">(<em>l.</em>)</span> الاميرى الكبيرى <span dir=
+"ltr">(<em>l.</em>)</span> سيف الدين . . . <span dir=
+"ltr">(<em>l.</em>)</span> اقبغا عبد الواحد <span dir=
+"ltr">(<em>l.</em>)</span> الملكى الناصرى <span dir=
+"ltr">(<em>l.</em>)</span></span></p>
+
+<p class="nind">“Of what was made by order of his Highness,
+exalted, Lord, the Great Amīr, Seyf-ed-dīn Alfy, ‘Abd-El-Wāhid
+Ākbughā, [liegeman] of El-Melik En-Nāsir.”</p>
+
+<div class="figcenter"><span class="pagenum" id=
+"Page_257">[257]</span>
+<figure id="i093"><a href="images/fig093.jpg"><img src=
+'images/fig093.jpg' alt='' class="iw17"></a>
+<p class="cp1">FIG. 93.—GLASS LAMP OF AKBUGHA.</p>
+
+<p class="cp2">Fourteenth Century. (<em>South Kensington
+Museum.</em>)</p>
+</figure>
+</div>
+
+<p><span class="pagenum" id="Page_258">[258]</span>On the under
+part of the body the medallions with devices are repeated; between
+them are spaces filled with arabesque ornament in white, red,
+green, yellow, and blue, on a gilt ground.</p>
+
+<p>Ākbughā was a well-known Mamlūk of the great Sultan En-Nāsir
+Mohammad ibn Kalaūn. He died in 1343.</p>
+
+<p><em>Glass lamp of Kahlīs</em>, a Mamlūk of El-Melik En-Nāsir,
+fourteenth century; described, but probably erroneously, as having
+been brought from the mosque “Devi Saidenaya” at Cairo, which is
+not known, though a convent of a similar name exists near Damascus.
+Height, 11⅜ in. [S. K. M., 580.-1875.]</p>
+
+<p>This is rather better and more carefully made than the others,
+and the enamel is in excellent preservation. The inscription on the
+neck, in gold on a blue ground, is divided by three medallions; the
+centre of each shows on a red ground a gold fess, on which is a
+scimitar in black with white mountings.</p>
+
+<p class="center"><em>A.</em> <span class="arabic">انّما يعمر مساجد
+الله ‏◯‏ من آمن بالله واليوم اﻟ ‏◯‏ ﺂخر واقام الصلاة ‏◯‏</span></p>
+
+<p class="nind">“He only shall visit the mosques of God who
+believeth in God and the Last Day, and is instant in
+prayer.”—<em>Korān</em>, ix. 18.</p>
+
+<p>On the body are six loops for suspension, dividing an
+inscription in blue on a gold ground:—</p>
+
+<p class="arinsc1"><em>C.</em> <span class="arabic" dir="rtl">هذا
+ما اوقفه <span dir="ltr">(<em>loop</em>)</span> العبد الفقير
+<span dir="ltr">(<em>l.</em>)</span> الى الله تعالى الر <span dir=
+"ltr">(<em>l.</em>)</span> اجى غفور اله الكر <span dir=
+"ltr">(<em>l.</em>)</span> يم قحليس الملكى <span dir=
+"ltr">(<em>l.</em>)</span> الناصرى <span dir=
+"ltr">(<em>l.</em>)</span></span></p>
+
+<p class="nind">“This is what was dedicated by the humble servant
+of God Almighty, hoping for the forgiveness of God the generous,
+Kahlīs, [liegeman] of El-Melik En-Nāsir.”</p>
+
+<p>On the lower part of the body the medallions are repeated, the
+spaces between are filled with arabesque ornament, showing blue
+enamel on a gold ground, lines of red on gold, and three small
+ornaments in white, blue, red, and green enamel.</p>
+
+<p>Of the lamps in the British Museum, the following are the most
+interesting:—</p>
+
+<p><em>Glass lamp of Sheykhū</em>, a Mamlūk of El-Melik En-Nāsir,
+fourteenth<span class="pagenum" id="Page_259">[259]</span> century.
+The inscriptions run round the neck (<em>A</em>) and the body
+(<em>C</em>), and (as usual) are formed of blue enamel on a plain
+glass ground in (<em>A</em>), and in plain glass (outlined in red)
+on a blue enamel ground in (<em>C</em>): the plain glass was
+probably gilt when new. The neck inscription contains the ordinary
+<em>Korān</em> verse, “God is the light of the heavens (<em>s</em>)
+and the earth: his light is as (<em>s</em>) a niche in which is a
+lamp (<em>s</em>)”: here it breaks off.</p>
+
+<p>At the points marked (<em>s</em>) is an armorial medallion: per
+fess, gules and sable, on a fess or, a cup gules; within a belt of
+delicate red tracery.</p>
+
+<p>The body inscription (<em>C</em>), divided by six loops,
+runs:—</p>
+
+<p class="center" dir="rtl"><span class="arabic">برسم المقر الا
+<span dir="ltr">(<em>l.</em>)</span> شرف العالى <span dir=
+"ltr">(<em>l.</em>)</span> المولوى <span dir=
+"ltr">(<em>l.</em>)</span> المخدومى <span dir=
+"ltr">(<em>l.</em>)</span> السيفى سيجو <span dir=
+"ltr">(<em>l.</em>)</span> الناصرى عز الله نصره <span dir=
+"ltr">(<em>l.</em>)</span></span>
+</p>
+
+<p class="nind">“By order of his excellency, the most noble, the
+exalted, the lord, the master, Seyf-ed-dīn Sheykhū, [the liegeman]
+of En-Nāsir, God magnify his triumph!”</p>
+
+<p>On the lower curve of the body (<em>D</em>) are three armorial
+medallions, as on (<em>A</em>), but divided by three medallions of
+arabesques, drawn in delicate red outline on a blue enamel ground,
+within a belt of red tracery.</p>
+
+<p><em>Glass lamp of Tukuzdemir</em>, Councillor of En-Nāsir,
+fourteenth century.</p>
+
+<p>On <em>A</em>, the same inscription as on the preceding lamp,
+breaking off at the same point; but divided by three shields,
+pear-shaped: gules, in chief an eagle displayed or, in base a cup
+of the last.</p>
+
+<p class="center">On <em>C</em>: <span class="arabic">مما عمل برسم
+المولوى الاميرى السيفى طقزدمر امير مجلس الملكى الناصرى
+الباى</span></p>
+
+<p class="nind">“Of what was made by order of the lord, the Amīr,
+Seyf-ed-dīn Tukuzdemir, Sitting Councillor of El-Melik En-Nāsir,
+the Bey.”</p>
+
+<p>On <em>D</em>, three shields as on <em>A</em>, alternating with
+beautiful arabesques in red, white, blue, and yellow.</p>
+
+<p><span class="pagenum" id="Page_260">[260]</span>On <em>E</em>,
+<span class="arabic">العالم</span> “the wise,” repeated all
+round.</p>
+
+<p>The border ornament consists chiefly of fine red tracery.</p>
+
+<p>As before, the upper inscription is blue on gold, the lower gold
+(outlined with red) on blue: but in this lamp the gold is
+exceptionally well-preserved. The “Sitting Councillor,” <em>Amīr
+Meglis</em>, had control over the doctors and surgeons of the Court
+(see <a href="#Page_31">p. 31</a>); and this Tukuzdemir is
+mentioned by the contemporary traveller, Ibn-Batūta, as one of the
+chief nobles of the day.</p>
+
+<p>A third lamp of exceptional interest, in the British Museum,
+must be referred to here, although it is believed to be of Damascus
+manufacture. It is quite different in style from the ordinary Cairo
+lamps: neither medallions nor shields appear upon it, nor the name
+of any Sultan or lord. The neck inscription (<em>A</em>) contains
+the beginning of the formula “God is the light,” &amp;c., down to
+<span class="arabic">الزجاجة</span>, and the body inscription
+(<em>C</em>) continues it to <span class="arabic">الامثال</span>;
+the whole reads:—</p>
+
+<p>(<em>A</em>). “God is the light of the heavens and the earth;
+his light is as a niche in which is a lamp, and the lamp in a
+glass; the glass | (<em>C</em>) as it were a glittering star; it is
+lit from a blessed tree, an olive neither of the east nor of the
+west, the oil thereof would well-nigh shine though no fire touched
+it—light upon light: God guideth to his light whom He pleaseth; and
+God strikes out parables [for mankind, and God is mighty over
+all.]” As before the neck inscription is blue on a gold ground, and
+the body inscription gold upon blue: the gold is unusually well
+preserved. Fine red tracery forms the borders. On the three loops
+for suspension the following inscription is distributed:—</p>
+
+<p class="center"><span class="arabic">مما عمل برسم ‏|‏ المسجد
+بالترية ‏|‏ الصاحبة التقونة</span>
+</p>
+
+<p class="nind">“Of what was made for the mosque at the grave of
+the lady Et-Takūna.” The meaning as well as the position of this
+curious inscription is unique: and the mosque and the lady Takūna,
+or Takwīya, or whatever her name may be, has not yet<span class=
+"pagenum" id="Page_261">[261]</span> been identified. Over the word
+<span class="arabic">المسجد</span> are signs which look like
+<span class="arabic">١٩٨</span>, and may be a date reversed, 891
+(<span class="sc2">A.D.</span> 1486).</p>
+
+<p>A lamp exhibited by Mr. J. Dixon at the Burlington Fine Arts
+Club, in the summer of 1885, bore the inscription round the
+neck</p>
+
+<p class="center" dir="rtl"><span class="arabic">المقر الكريم
+العالى ا <span dir="ltr"><em>m</em></span> المولو[ى] الاميرى
+الكبيرى <span dir="ltr"><em>m</em></span> المالكى المخدومى
+<span dir="ltr"><em>m</em></span></span>
+</p>
+
+<p class="nind">continued round the body,</p>
+
+<p class="center"><span class="arabic">التقى على الله تعالى يلبغا
+الناصرى امير حاجب بالابواب الشريفة</span>
+</p>
+
+<p class="nind">“His excellency the generous, exalted, lord, great
+amīr, royal, master, | trusting in God most High, Yelbughā, the
+retainer of En-Nāsir, lord chamberlain of the royal gates.”</p>
+
+<p>At the points <em>m</em> are medallions bearing a coat of arms:
+on a fess a scimitar azure, with brown mountings, chief gules, base
+brown.</p>
+
+<p>Yelbughā is mentioned by El-Makrīzy (in the <em>Khitat</em>) as
+a “wezīr” and “ustāddār,” and “one of the chief mamlūks of El-Melik
+Edh-Dhāhir Barkūk,” in reference to his restoration of the mosque
+El-Akmar in 1397. The lamp may have come from this very mosque; but
+it must have been made after the death of Barkūk, since Yelbughā
+styles himself, not Edh-Dhāhiry, but En-Nāsiry, <em>i.e.</em>
+mamlūk of En-Nāsir Farag, Barkūk’s son and successor. This will
+give the lamp a date of about 1405-10.</p>
+
+<p>No two lamps are really alike; the designs are infinite, and
+only in the inscriptions do we find any trace of monotony. The
+appropriateness of the passage from the Korān about “the light of
+the heavens and the earth,” seems to have made it very popular with
+the glass-workers, and it recurs with almost the persistency of the
+still more celebrated “Throne Verse,” which meets the eye in nearly
+every mosque and tomb in Cairo. Besides variety in ornament, the
+lamps sometimes differ widely in substance. The transparent glass,
+covered with inscriptions and designs in blue and red enamel, is
+certainly the ordinary material, but some lamps are of plain glass
+with no enamel at all; such is the lamp of the church of Abu-Sarga,
+engraved in Mr. Butler’s <em>Coptic<span class="pagenum" id=
+"Page_262">[262]</span> Churches</em>, which has the form of the
+lamps already described, but is perfectly plain, and has only three
+loops for suspension. A similar lamp is preserved in the Coptic
+church of Sitt Maryam hard by. Some of the lamps in the Arab Museum
+at Cairo are of pale green or blue glass, and semi-opaque, and I
+have seen one, of a rich deep blue, still hanging in a mosque.
+Lamps of the same shape and purpose were also made of pottery, but
+not, so far as we know, in Egypt. The earthenware lamps are chiefly
+of Damascus<span class="pagenum" id="Page_263">[263]</span> and
+Rhodian ware, and belong to the sixteenth century; some of them
+reach very large sizes, and not a few are open to suspicion of
+owing their existence to the modern forger’s desire to satisfy the
+passion of the collector. The Saracenic glass lamps do not appear
+to have been made much later than the fourteenth century, nor do we
+hear much of Eastern glass from travellers after this period.
+Venice had then taken up the <em>rôle</em> of glassmaking.</p>
+
+<div class="figcenter">
+<figure id="i094" class="iw5"><a href=
+"images/fig094_large.jpg"><img src='images/fig094.jpg' alt=''></a>
+<p class="cp1">FIG. 94.—VASE OF SULTAN BEYBARS II.</p>
+</figure>
+</div>
+
+<p>The mode in which the lamps were used was this: they were
+suspended by chains of silver or brass to the wooden beams that
+generally run across the span of the smaller arches in a mosque, or
+else to the ceiling, or to the gallows brackets that stand out from
+the walls, as at Sultan Hasan. A small glass vessel containing oil
+was hung inside the lamp by means of wires hitched on to the rim,
+and a wick was soaked in the oil and lighted. The effect of the
+yellow light shining through the gold and the blue and red enamel,
+and showing off the inscriptions and ornament, must have been
+magnificent: the true Oriental delight in softened light, which we
+notice in the shady <em>meshrebīyas</em>, the subdued tones of the
+windows, the dull red and blue of the ceilings, is exhibited in
+this manner of introducing light into the mosques.</p>
+
+<p>Besides the mosque lamps, the most prominent use of glass in
+Cairo was for the windows of both mosques and houses. Over the
+niche of a mosque, and over the lattice wood-work of a
+<em>meshrebīya</em> in a house, one generally sees examples of the
+characteristic stained glass windows of Cairo. In houses they are
+generally set in a row, in slight wooden frames, over the lattice,
+to the number of eight or more. The Cairo room in the South
+Kensington Museum (no. 1193-1883), has eleven of these stained
+windows, which are called in Arabic <em>kamarīyas</em> or
+<em>shemsīyas</em>, “moonlike” or “sunlike.” They consist of a
+rectangular frame of wood, about two inches broad by one thick, and
+forming an oblong about thirty inches high by twenty broad. The
+frame is filled with an arabesque, floral, architectural, or
+inscriptional<span class="pagenum" id="Page_264">[264]</span>
+design in open stucco-work, the perforations being filled with
+stained glass. The mode of making these windows is the simplest. A
+bed of plaster is poured into the frame and suffered to set, and
+the design is then cut out with a gouge or other tool, after which
+the stained glass is fixed with more plaster on the outside of the
+window, which is then put up in its place, flush with the inside of
+the wall, and set in a slight wooden frame with a flat architrave
+round it forming a margin which conceals the joints between the
+several windows. A couple of buttons keep the window from falling
+inwards, while the architrave secures it on the outside. It will be
+seen that no special skill is required for most of this work. The
+plaster is easily cut—as any one may prove who cares to make the
+experiment of carving a <em>kamarīya</em> out of plaster of
+Paris—and the glass requires no fitting, for its superfluous edges
+are concealed by the plaster.<span class="pagenum" id=
+"Page_265">[265]</span> The material is fragile, no doubt, as those
+who have tried to bring it to England know, but moderate care on
+the part of the workman would ensure the safety of the
+<em>kamarīya</em> between its cutting and its placing in the
+window. Where the art comes in is in the shaping of the
+perforations which form the design. The shape and slant of these
+holes are skilfully regulated according to the height they are to
+be raised above the spectator; and the thick plaster setting of the
+bright little facets of glass gives the light that comes through
+the latter a shaded appearance which is singularly charming. It is
+difficult to give in words any clear idea of the exquisite effect
+which is obtained by a skilful management of the plaster rims; and,
+unfortunately, in our climate one cannot reckon on seeing the sun’s
+rays streaming through the stained glass of those
+<em>kamarīyas</em> which are exhibited in the South Kensington
+Museum.</p>
+
+<div class="plate">
+<div class="igrp2">
+<div class="figcenter">
+<figure id="i095" class="iw17"><a href=
+"images/fig095.jpg"><img src='images/fig095.jpg' alt=''></a>
+<p class="cp1">FIG. 95.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i096" class="iw17"><a href=
+"images/fig096.jpg"><img src='images/fig096.jpg' alt=''></a>
+<p class="cp1">FIG. 96.</p>
+</figure>
+</div>
+</div>
+
+<p class="cp1 clear">STAINED GLASS WINDOWS.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</div>
+
+<div class="plate">
+<div class="igrp2">
+<div class="figcenter">
+<figure id="i097" class="iw17"><a href=
+"images/fig097.jpg"><img src='images/fig097.jpg' alt=''></a>
+<p class="cp1">FIG. 97.</p>
+</figure>
+</div>
+
+<div class="figcenter">
+<figure id="i098" class="iw17"><a href=
+"images/fig098.jpg"><img src='images/fig098.jpg' alt=''></a>
+<p class="cp1">FIG. 98.</p>
+</figure>
+</div>
+</div>
+
+<p class="cp1 clear">STAINED GLASS WINDOWS.</p>
+
+<p class="cp2">(<em>South Kensington Museum.</em>)</p>
+</div>
+
+<p><span class="pagenum" id="Page_266">[266]</span>With all the
+ingenuity of moulding that is noticeable in the plaster designs of
+these <em>kamarīyas</em>, it must be admitted that the designs
+themselves are somewhat monotonous. Certain well-known types recur
+again and again, and it seems as if the artist had satisfied
+himself that no other design could be so successful and suited to
+the character of the light that was strained through. The South
+Kensington Museum contains thirty-seven of these windows, including
+the eleven belonging to the Cairo room, and the following is an
+analysis of the designs presented by this series:—</p>
+
+<p class="hang2">Pinks and other flowers growing from a vase—ten
+examples, varied of course in colours and slight details, but
+actually of the same design, which is the commonest of all.
+(<a href="#i098">Fig. 98.</a>)</p>
+
+<p class="hang2">Cypress entwined with flower-stem—six examples.
+The spirals of the flower-stem are made to twist in opposite
+directions in a pair of these designs.</p>
+
+<p class="hang2">Cypress alone, one; or within a quatrefoil,
+surrounded by flowers, two. Two cypresses under an arch, one; or
+beneath a palm, one example. (<a href="#i097">Fig. 97.</a>)</p>
+
+<p class="hang2">Kiosk between two cypresses or two buds (<a href=
+"#i095">fig. 95.</a>), or alone, six examples.</p>
+
+<p class="hang2">Scroll or sprig of flowers and leaves, three
+examples. (<a href="#i096">Fig. 96.</a>)</p>
+
+<p class="nind">Thus thirty of the thirty-seven windows are
+accounted for by five designs. The remainder consist of two
+Solomon’s Seals, one rosette, and four portions of Arabic
+inscriptions, of which two or three form parts of Christian
+formulas. Examples of the kiosk, the palm spreading over two
+cypresses, the flowers growing out of a vase, and the scroll or
+sprig of flowers, are given in the illustrations (<a href=
+"#i095">figs. 95-98</a>).</p>
+
+<p>The position of the row of <em>kamarīyas</em> over a
+<em>meshrebīya</em> is almost always just beneath the eave of the
+window, above the lattice-work; but there is one exception in the
+South Kensington Museum. The Cairo room there has its eleven
+<em>kamarīyas</em> in an intermediate<span class="pagenum" id=
+"Page_267">[267]</span> position, with a panel of lattice-work
+above as well as below the glass. This is so unusual, that
+competent authorities have asserted that the <em>meshrebīya</em>
+has been wrongly put together; but apart from the fact that the
+sketch I made of the window before it was taken down in Cairo shows
+the same arrangement, the joints of the wood-work prove that the
+window is in its original position, and could not have been set up
+in any other way.</p>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_268">[268]</span><a id=
+"c09"></a>CHAPTER IX.</h2>
+
+<p class="sch1">HERALDRY ON GLASS AND METAL.</p>
+
+<p class="nind"><span class="sc">In</span> describing various
+objects in brass, bronze, and glass, especially the glass
+mosque-lamps, several coats of arms have been noticed. The subject
+deserves a section to itself, partly on account of its
+unexpectedness, and partly because it has a bearing upon the origin
+of our own heraldry. It is probable that the Crusaders brought back
+to Europe, together with lessons in chivalry and civilization, the
+germ of our system of heraldic bearings which has since been so
+carefully developed. The circumstance that coats of arms do not
+seem to have been borne in Europe before the end of the eleventh
+century, and were then very rudimentary, favours the conclusion
+that they had their source in the devices carried by the Saracen
+adversaries of the Crusaders. It is true, we are not able to point
+to any decided use of armorial badges in the East before the year
+1190,<a id="FNanchor_81"></a><a href="#Footnote_81" class=
+"fnanchor">[81]</a> when the coins of ‘Imād-ed-dīn Zenky, Prince of
+Singār, present the two-headed eagle which soon afterwards becomes
+common on the coinage of the Urtuky rulers of Āmīd, and is found
+sculptured on the walls of that city. This is early enough as
+regards the emblem in question, for the Imperial Eagle
+was<span class="pagenum" id="Page_269">[269]</span> not adopted in
+Europe before 1345, but it cannot be regarded as satisfactory for
+all coats of arms. If other armorial bearings were known in Europe
+in the eleventh century, it is possible that they were carried to
+the East by the Crusaders, instead of being brought thence to the
+West. Several considerations, however, militate against this view.
+One is the Eastern origin of many of our heraldic terms: thus
+<em>gules</em> is the Persian <em>gul</em>, a rose; <em>azure</em>
+is also Persian <em>lazurd</em>, blue; <em>ermine</em> is the fur
+of an Armenian beast; the pelican, ibis, griffin, and other charges
+of our coats of arms are clearly of Oriental derivation. Moreover,
+we know, from the researches of H. Brugsch Pasha, that the ancient
+Egyptian nomes had each their sign or badge, and that the temples
+were distinguished by separate devices on their banners. Various
+animals and birds were used for these purposes, and we even find
+the Star and Crescent, which, with the Lion and Sun, forms the sole
+remnant of heraldry among the modern Muslims. There is thus reason
+to believe that the heraldic bearings, which, as we shall see, were
+of common application during the 13th, 14th, and 15th centuries,
+were of Oriental descent, and though probably their frequency was a
+part of the general revival of the arts which accompanied the
+irruption of Turkish tribes into Syria and Egypt in the 12th and
+13th centuries, they doubtless represent a custom that may have
+fallen into desuetude, but was never entirely forgotten, in the
+East.</p>
+
+<p>The cause of the sudden abundance of these armorial shields,
+especially in the 14th century, was the military constitution of
+the Mamlūk empire. The various corps of the Mamlūk army were
+distinguished each by its separate banner, with its individual
+device. The Arabic and Persian word for a heraldic badge, or arms,
+<em>renk</em>, meant originally “colour,” and then came to mean,
+like our own expression, the “colours” of a regiment, and hence any
+distinguishing “badge” or “bearing,” “coat of arms.” In the history
+of the Mamlūks we constantly meet with references to the
+<em>renks</em> of various Amīrs and Sultans, and of such
+<em>renks</em> being<span class="pagenum" id=
+"Page_270">[270]</span> assigned by the Sultan to a given Amīr.
+When Es-Sālih Ayyūb made Aybek his Taster (Jāshenkīr), he gave him
+for his armorial badge a small table, in allusion to his office,
+which consisted in tasting all the food destined for the Sultan’s
+table. This was the usual origin of these badges; they were not
+hereditary, and it is only by accident that the same <em>renk</em>
+is found to have been borne by two persons. Among the historical
+references to specific arms, we may mention the description of the
+<em>lion passant</em>, which was the crest or bearing first of
+Ibn-Tūlūn in the ninth century, and afterwards of the Sultan
+Beybars I., <span class="sc2">A.D.</span> 1260-77, and which gave
+its name to the “Bridge of Lions,” and also the “Garden of the Lion
+and Hyaena,” which were ornamented by two lions carved in stone on
+the gateway. Abu-l-Mahāsin mentions another coat of arms, argent,
+on a fess vert, a scimitar gules, and adds that this elegant coat
+was much beloved by the ladies of Cairo, who used to tattoo their
+fingers with it. The same historian says that the arms of the Amīr
+Salār were black and white.</p>
+
+<p>Saladin’s crest was probably an <em>eagle</em>; Barkūk bore a
+white <em>Sunkur</em>, or falcon, which is the king of birds among
+the Arabs; and Kalaūn bore a “canting” coat, the representation of
+his own name, a <em>duck</em>.</p>
+
+<p>Two finely sculptured single-headed eagles in the Arab Museum at
+Cairo, with well-chiselled wing and breast feathers, and spreading
+tails, set in pear-shaped shields, with a cup in the base, may have
+been Tukuzdemir’s arms (see above, <a href="#Page_259">p.
+259</a>).</p>
+
+<p>A great many coats of arms have come down to us, some in metal,
+when the colours are of course uncertain, others in glass, when the
+enamel preserves the original tinctures. Some few devices are also
+preserved in mosaic, wood, and ivory, or inscribed on the walls of
+buildings. The circular medallions sculptured on the edifices of
+Kāït Bey and other Sultans may almost be regarded as blazons, and
+so may the similar medallions on glass lamps. The late E. T. Rogers
+Bey, whose long residence in the East and intimate acquaintance
+with Arabic literature<span class="pagenum" id=
+"Page_271">[271]</span> rendered him a high authority on all
+branches of Saracenic art, devoted considerable research to this
+subject, and collected a large number of Mamlūk coats of arms in a
+valuable memoir published in the <em>Bulletin de l’Institut
+Egyptien</em>, 1880. The following <em>résumé</em> of his
+discoveries, together with a few additions from my own observation,
+will be useful to those who do not possess the original
+monograph.</p>
+
+<p>The general character of Saracenic armorial bearings is
+monotonous. The shield is almost always a circle, divided by a
+broad fess; though a glass lamp at the British Museum has the true
+shield form, and no fess. The usual charges are a cup (most
+frequent of all, and indicating that the bearer held the office of
+cup-bearer to the Sultan), a lozenge, a sword, a pair of
+cornucopias, a pair of polo sticks (indicating the office of
+Jōkendār, or polo-master), keys (the badge of a chamberlain or
+governor), an eagle, and a target. These are often combined in
+various modes, of which the commonest consists in placing a cup on
+the fess, a second cup in the base, and a lozenge in the chief. The
+cornucopias are generally arranged on either side of one or other
+of the preceding charges. A very frequent bearing, which suggests
+curious speculations, is the hieroglyphic formula already referred
+to, <a href="#Page_233">p. 233.</a> It is found as a sole charge,
+or in chief with other emblems, or inscribed upon the body of a
+cup, and its meaning is “Lord of the Upper and Lower country.”
+Rogers Bey was of opinion that the Mamlūks who employed this coat
+must have been aware of its meaning, and that perhaps the
+interpretation of hieroglyphics had not become extinct in the
+fourteenth century. It is possible that, while the general
+hieroglyphic inscriptions were no longer understood, the particular
+title, which is of frequent occurrence on the temple walls, may
+have been preserved by the Copts; or the Mamlūks, without knowing
+the meaning, may have inferred from its frequency that it was a
+title of honour. In any case, its common appearance upon Saracenic
+objects is sufficiently surprising.</p>
+
+<p><span class="pagenum" id="Page_272">[272]</span>The following
+are some of the principal coats of arms belonging to historical
+Amīrs and Sultans, in addition to the badges (lions, eagles,
+&amp;c.) already mentioned:—</p>
+
+<p>Sheykhū † <span class="sc2">A.H.</span> 758 (1357). Per fess,
+gules and sable, on a fess or, a cup gules. (British Museum, and
+Linant Pasha’s Collection.)</p>
+
+<p>Bahādur, † 739 (1339). Two horizontal bars.</p>
+
+<p>El-Māridāny, † 744 (1343). Gules, on a fess argent, a lozenge of
+the first.</p>
+
+<p>Kahlīs, an Amīr of En-Nāsir (14th century). Gules, on a fess
+argent, a scimitar sable, mounted of the second. (S. K. M.)</p>
+
+<p>Tukuzdemir, † 746 (1345). Gules, in chief an eagle displayed or,
+in base a cup of the last. (British Museum.)</p>
+
+<p>Almās, † 734 (1334). Argent, a target or, with a bull’s eye
+gules. (Linant Pasha’s Collection.)</p>
+
+<p>Arkatāy, † 750 (1349) (Governor of Safad). Two keys.</p>
+
+<p>Ezbek, <span class="sc2">A.H.</span> 905 (1499). On a fess, a
+cup supported by daggers (?); chief, a lozenge between cornucopias;
+base a cup between lozenges.</p>
+
+<p>Beshtāk, <span class="sc2">A.H.</span> 736 (1335). On a fess, a
+cup inscribed with the usual hieroglyphics, in chief diamond, in
+base a cup. This occurs on a bronze plate, and is consequently
+without tinctures; it is also seen on the ruin known as the “Bath
+of Beshtāk,” near the mosque of Sultan Hasan.</p>
+
+<p>Sultan Kāït Bey, † 901 (1495). On a fess, a cup between
+cornucopias; above a lozenge; beneath a second cup. The same coat
+was borne by the Amīr Janbalāt, one of Kāït Bey’s officers, and
+afterwards Sultan.</p>
+
+<p>Many other combinations of cups and lozenges and the like might
+be enumerated, but these have not been identified with historical
+personages, and the student may refer for them to Rogers Bey’s
+memoir. Among the more remarkable combinations, however, may be
+noted a flag upon the body of a cup, which probably refers to some
+military or court office; and in<span class="pagenum" id=
+"Page_273">[273]</span> colours, a rare arrangement is seen of
+Bektuman En-Nāsiry, azure on a fess argent, a cup gules. A common
+badge is the fleur-de-lis, generally very distinctly represented.
+It was borne, among others, by El-Ashraf Sha‘bān, El-Mansūr ‘Aly,
+and Es-Sālih Hājjy, Sultans who all reigned in the second half of
+the fourteenth century, and it also occurs on the Māristān of
+Kalāūn at the beginning of the same century.</p>
+
+<p>Two coats of arms preserved in the South Kensington Museum are
+different in details from any of those collected by Rogers Bey. The
+first occurs on a brass stand (see <a href="#Page_233">p. 233</a>)
+which bears the title of a chief secretary of the fourteenth
+century; the second is from a scale-pan (no. 929, 1884), with no
+name, but is probably of the fifteenth century; the arms show the
+usual hieroglyphics on a fess, with a lozenge between trefoils in
+the chief, and a cup between trefoils in the base.</p>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_274">[274]</span><a id=
+"c10"></a>CHAPTER X.</h2>
+
+<p class="sch1">POTTERY.</p>
+
+<p class="nind"><span class="sc">The</span> only pottery now made
+in Egypt is the porous unglazed ware, made principally at Ballasa,
+Kiné, and Semenhūd, which is used for water-bottles and utensils
+for the kitchen, and the roughly glazed variety of Asyūt, which is
+chiefly made for coffee-cups and ornaments, pipes, ash-trays,
+&amp;c. Both are of red earth (or, the latter, sometimes black, as
+<a href="#i099">fig. 99</a>), and are turned on the ordinary wheel.
+The ornament, when there is any, is coarse, but the forms are
+generally simple and graceful. Some of the shapes of the common
+porous drinking-bottles are singularly pure, and might serve as
+models to the most finished potter of Europe.<a id=
+"FNanchor_82"></a><a href="#Footnote_82" class=
+"fnanchor">[82]</a></p>
+
+<p>No fine pottery is now made in Egypt with the floral decoration
+and pure siliceous glaze, such as we see in the well-known Damascus
+and Rhodian pottery. It is even a disputed point whether any of the
+tiles which adorn the mosques and houses of Cairo were made there,
+and some critics would have all fine earthenware to have been
+imported from Damascus and Persia. The mere fact that no fine
+pottery is now made in Cairo is no argument against its having been
+made there formerly. Anyone who will wander among the rubbish
+mounds of Old Cairo (Fustāt), after a high wind has disturbed the
+sand, will be rewarded by picking up fragments of glazed
+earthenware of a great variety of styles. These are the potsherds
+of former centuries, for no ware<span class="pagenum" id=
+"Page_275">[275]</span> like these can be discovered in the present
+day. That these fragments represent wares actually made at Fustāt,
+is proved by the fact that the “cockspurs” or clay tripods, upon
+which they were placed during the firing, are found with them; and
+that they were made before the almost total destruction of Fustāt
+by fire in 1168 is at least probable, from their abundance and the
+absence of any similar ware made in Cairo at later periods. Many of
+these fragments have a gold or copper lustre; others are decorated
+with streaks of red and white; and a large proportion show coarse
+black designs on a turquoise or blue-green ground, resembling the
+ancient black and blue ware of Syria. It is only natural to
+conclude that the Saracens (or their subjects), who cultivated the
+potter’s art with remarkable success in Persia and Syria, should
+have carried the same proficiency to so important a city of their
+empire as Cairo.</p>
+
+<div class="box-float-right">
+<div class="figfloat iw18">
+<figure id="i099"><a href="images/fig099.jpg"><img src=
+'images/fig099.jpg' alt=''></a>
+<p class="cp1">FIG. 99.—ASYUT COFFEE-POT.</p>
+</figure>
+</div>
+</div>
+
+<p>Fortunately there are a few references to Egyptian pottery
+scattered among the works of the historians and travellers of the
+East, though much fewer than could be desired. The most important
+is the statement of Nāsir-i-Khusrau, who visited Egypt in the
+middle of the eleventh century of our Era. “At Misr” (i.e. Fustāt),
+he writes, “they make earthenware of all kinds, so fine and
+diaphanous that one can see one’s hand through it.<span class=
+"pagenum" id="Page_276">[276]</span> They make bowls, cups, plates,
+and other vessels; decorate them with colours resembling [the
+iridescent stuff called] Būkalamūn, so that the shades change
+according to the position in which the vessel is held.”<a id=
+"FNanchor_83"></a><a href="#Footnote_83" class="fnanchor">[83]</a>
+This can only refer to an iridescent ware like the fragments found
+among the rubbish mounds of Fustāt, which have the metallic lustre
+described by Nāsir-i-Khusrau, and are painted with arabesque
+designs, inscriptions (unhappily not indicative of date), and
+sometimes with figures of animals. The fragments, however, are not
+translucent, as was the ware described by the Persian traveller;
+but this may be explained by the likelihood of the more fragile
+ware having been reduced almost to powder, and thus escaping
+observation. The fact remains that fine pottery was manufactured at
+or near Cairo in the eleventh century; and this point once
+established, there is no reason to seek for a different source for
+many of the tiles that are found in the decoration of the mosques
+and houses.</p>
+
+<p>Tiles were the Saracenic substitute for mosaic. The last was
+used in mosques and palaces, though not to cover the upper portions
+of the walls; but for private houses, and sometimes for mosques, a
+cheaper substitute was found in siliceous glazed tiles. We find
+them commonly in the dados of the reception-rooms in the better
+class of houses. How early they were introduced is not known, but
+the coating of the remarkable minarets of the mosque of En-Nāsir
+Mohammad in the citadel of Cairo is of glazed blue tiles, and this
+carries them back to the first quarter of the fourteenth century.
+It is worth noting that the Egyptians call wall-tiles
+<em>Kāshāny</em>, “pertaining to Kāshān,” a Persian city, and the
+name points to the possible derivation of Syrian and Cairene
+faience from the early lustred earthenware of Persia. The fragments
+picked up at Fustāt, however, bear little resemblance to the early
+Persian ware, nor have the devices of the later Damascus and Cairo
+tiles much in common with the golden arabesques of the true
+Persian. There is nothing to prove<span class="pagenum" id=
+"Page_277">[277]</span> that the Persian pottery was the parent of
+the Cairene: it is equally possible that the Fustāt fragments
+represent the origin of the Persian wares. But wherever the art
+originated, it is reasonable to assume that the Tartar invaders of
+Egypt in the twelfth and thirteenth centuries brought with them the
+idea of coating the walls of a tomb or house with tiles, such as
+they had seen on their route through Persia. The usual dates of the
+Persian star-shaped tiles are of the thirteenth century. This would
+give sufficient time for the art to be carried to Cairo by the
+Mamlūks, and used for the decoration of En-Nāsir’s mosque in 1318.
+It is true that the Cairo tiles are not star-shaped, nor do they
+resemble their Persian contemporaries in colour or general
+treatment; they are not lustred, nor have they inscriptions or
+dates. Moreover, the potter’s art was practised successfully in
+Egypt in the days of the Pharaohs. Still, the notion of <em>using
+tiles as wall coverings</em> may have come from the Persian tombs,
+though the material and process had long been familiar. It was in
+the adaptation and revival of old arts that the Saracens
+excelled.</p>
+
+<p>Which of the numerous varieties of tiles, still to be seen
+<em>in situ</em> on the walls of Cairo buildings, are of native
+manufacture is a problem which does not appear likely to be solved
+until we have discovered tiles inscribed with names or dates, or
+obtained some fresh historical evidence. Some of the designs are so
+obviously akin to those known to have been made at Damascus, that
+it seems difficult to resist the conclusion that they were imported
+from that city. There is, however, another explanation of the
+similarity which is equally probable. It was, we know, the custom
+of the Mamlūk and other princes to send to various distant cities
+for artists and workmen, when they contemplated the erection of a
+great mosque or palace. We read of painters brought to Cairo from
+Basra and Wāsit, in Mesopotamia; of artisans furnished by the Greek
+Emperor to the Khalifs at Damascus; of a Cairo mason, sent in 1287
+by Kalaūn, to chisel that Sultan’s name on a mosque then being
+built by Baraka<span class="pagenum" id="Page_278">[278]</span>
+Khan in the Crimea; of an architect of Tebrīz, who built the two
+minarets of the mosque of Kūsūn, at Cairo, on the model of the
+minaret set up in Tebrīz by Khwāja ‘Aly Shāh, the Vizīr of the
+Mongol King of Persia Abū-Sa‘īd. This principle of collecting
+workmen from the chief centres of their arts may have operated in
+producing the mixed character of the tile-work of Cairo. Potters
+may have been brought from Damascus, Brūsa, Kutahia, and the other
+centres of tile-work, to ornament the mosques and houses of Cairo,
+and this would account for the purely Damascus patterns which we
+frequently see. Sometimes, no doubt, the tiles were actually
+imported. Ibn-Sa‘īd tells us that quantities of <em>azulejos</em>
+(a word formed from the Persian <em>lazūrd</em>, lapis lazuli) were
+exported from Andalusia, and the mosque of Sheykū at Cairo was
+decorated with these Moorish tiles, some of which are now in the
+South Kensington Museum (St. Maurice Collection). In a similar way,
+the Lady Chapel of St. Mary Redcliffe, at Bristol, is paved with
+<em>azulejos</em>, which formed the cargo of a ship captured off
+the coast.</p>
+
+<p>What has now been said will show that it is not easy to decide
+which tiles may be ascribed to the native potteries of Cairo. Some
+general principles, based on observation of prevailing types, may
+however be laid down. It is supposed, with some show of reason,
+that the thinner tiles are Cairene; as distinguished from the thick
+ware of Damascus. The Cairo colouring appears to be chiefly blue,
+in two shades, dark and turquoise, and the designs are floral, but
+simpler than those of Damascus. Puce and sage-green (typical tints
+of Damascus) are not among the colours of the Cairene tile potter.
+We do not find such large panels of tile-work at Cairo as in Syria,
+nor are the individual tiles larger than about ten inches square.
+In point of firing, the Cairo tiles are less flat and more often
+crackled than those of Damascus, and the tints often run into one
+another.</p>
+
+<p>Some fine examples of Cairo tiles, or what are supposed to be
+such, are illustrated in Prisse d’Avenne’s <em>L’Art Arabe</em>.
+Plates 119<span class="pagenum" id="Page_279">[279]</span> and 120
+show the magnificent tiled wall of the mosque of Āksunkur, built in
+<span class="sc2">A.H.</span> 747-8 (1347). El-Makrīzy tells us
+that this mosque was built of stone, with a vaulted roof, and was
+paved with marble. Āksunkur himself took a share in the labour. In
+815 the Amīr Tughān added a fountain in the middle of the court,
+the water of which was supplied by a wheel turned by an ox; the
+fountain was covered by a roof resting on marble columns, which the
+Amīr took from the mosque of El-Khandak, which he had pulled down.
+But the historian provokingly says nothing about the tiles, and we
+are forced to believe that, as he could hardly have omitted to
+mention so salient and almost unique a feature if it had existed in
+his time, the tiles must have been inserted when Ibrāhīm Āghā
+restored the mosque in 1652. No more splendid example of the use of
+tiles in large surfaces can be seen in Cairo. It is impossible to
+give any idea of this magnificent wall, covered with tiles from top
+to bottom, and displaying the typical Cairene pattern of blue
+flowers and leaves in the utmost perfection. The <em>sebīls</em> or
+street fountains, are also sometimes lined with beautiful tiles;
+for example, that of ‘Abd-er-Rahmān Kikhya, erected in the
+eighteenth century. Other tiles of Cairo style may be seen in the
+South Kensington Museum. I succeeded myself in bringing back, in
+1883, several batches of tiles of identical pattern, with a view to
+showing their effect when combined in large surfaces; and there can
+be little doubt that these long series were made at the city where
+they were found, and probably by native potters. Cairo tiles, like
+those of Damascus, are bevelled at the edges, to allow the thick
+plaster bed in which they are set to penetrate between them at the
+back and thus give a hold, and also to save trouble in exactly
+squaring the edges.</p>
+
+<p>We have not attempted to assign dates to any given tiles, except
+those of the mosque of En-Nāsir, for the sufficient reason that any
+such attempt must be entirely hypothetical. It is not easy to say
+which tiles are really of Cairo make; but it is even
+more<span class="pagenum" id="Page_280">[280]</span> difficult to
+assign any fixed date to them. The Ibrāhīm Āghā tiles are, indeed,
+probably of the date of the restoration in the seventeenth century;
+but the same patterns seem to have been copied for so long a period
+that these, even if the date were absolutely certain, would form no
+safe guide as to the date of other tiles of the same pattern.</p>
+
+<p>Of other pottery than tiles, except the fragments found among
+the rubbish mounds, there is very little that can be safely
+attributed to Cairo. An opaque white ware of a creamy glaze, of
+which there are specimens in the South Kensington Museum, is said
+to be Cairene; and I am disposed to ascribe certain coarse blue and
+white dishes, with floral patterns, of which two are in the St.
+Maurice Collection, to Cairo potters, chiefly because they came
+from Cairo, and are unlike any other known ware of the East.</p>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_281">[281]</span><a id=
+"c11"></a>CHAPTER XI.</h2>
+
+<p class="sch1">TEXTILE FABRICS.</p>
+
+<p class="nind"><span class="sc">The</span> East is the home of
+sumptuous apparel, and among the arts of the Saracens the
+manufacture of the materials of dress naturally occupied a
+prominent place. The very names which we still use for various
+kinds of silken and other stuffs recall their Eastern origin.
+Sarcenet is <em>saracenatum</em>, muslin is named after the famous
+<em>Mosil</em> fabric, tabby is the watered or striped stuff,
+named, after a street in Baghdād, ‘Attaby or ‘Uttaby; the silken
+canopies called <em>baudekins</em> or <em>baldacchini</em> were so
+named from Baldac, a western corruption of Baghdād;<a id=
+"FNanchor_84"></a><a href="#Footnote_84" class="fnanchor">[84]</a>
+Cramoisy is derived from the dye furnished by the Kermis insect;
+the German word for satin, <em>atlas</em>, means the smooth satin
+of Syria and Armenia; samite is probably Shāmy, “Syrian” fabric;
+the Genoese <em>mezzare</em> and the Spanish <em>almaizar</em> are
+but the Arab garment called <em>mizar</em>; and <em>jupe, jupon,
+giuppa</em>, are French and Italian descendants of the
+<em>gubba</em>, which Egyptian gentlemen still wear. European
+sovereigns who had a mind to dress in purple and fine linen
+naturally took their lessons in regal attire from the robes of
+Eastern princes. Italian tailors derived much of their materials
+and ideas from the superb models brought by merchants from
+Damascus, Cairo, and Baghdād; and Sicily became a noted
+centre<span class="pagenum" id="Page_282">[282]</span> of rich
+textile fabrics under the Saracens and their successors the Norman
+kings. Ma‘din, in Armenia, wrought the most beautiful
+<em>atlas</em> satin; Baghdād was famous for its tabby silk,
+Ba‘lbekk supplied the finest white cotton, Tyre maintained its
+industrial fame by making carpets and mats, Rūm or Anatolia was
+celebrated for its silk and satin—we read of the Rūmian silk in the
+<em>Arabian Nights</em>—and wool came from Malatīa and Angora.
+Egypt was not backward in the arts of adornment. Cairo and
+Alexandria indeed imported many European stuffs, cloth, and other
+fabrics, from Venice, and fine linen and silks from Sicily; but
+they had also their own looms, and their produce was famous for its
+excellent quality. Alexandria had its special silk fabric, and
+Cairo was renowned for its manufacture of yellow silk standards: so
+fine was the texture of the best Cairene fabric that a whole robe
+could be passed through a finger-ring. Some of the smaller towns of
+Egypt were well-known centres of textile industry. Ibn Batūta joins
+with all Eastern authorities in praising the white woollen cloth of
+Behnesa. Debīk was famous for its silks. “At Asyūt,” says
+Nāsir-i-Khusrau, “they make woollen stuff for turbans which are
+unequalled in the whole world. The fine woollens of Persia, called
+Misry, all come from Upper Egypt, for they do not weave wool at
+Misr [Fustāt]. I saw at Asyūt a woollen waistcloth, such as I have
+not seen equalled at Lahōr or Multān—you might have mistaken it for
+silk tissue.” Tinnīs was renowned throughout the East for its fine
+cambric (<em>kasab</em>) used for turbans. White <em>kasab</em> was
+made at Damietta, whence our term ‘dimity’ (<em>Arabicè,
+dimyāty</em>), but that of Tinnīs was woven of all colours by
+Coptic weavers, and was much preferred. Nāsir-i-Khusrau tells us
+that the products (<em>tiraz</em>) of the royal factory at Tinnīs
+were reserved exclusively for the sovereign of Egypt, and could
+neither be sold nor given to any one else. “A king of Fars,” he
+adds, “offered 20,000 pieces of gold for a complete robe made of
+the Tinnīs stuff at the royal factory, but, after trying for
+several years to obtain it, his agent was compelled to abandon the
+attempt. A royal turban of this fabric<span class="pagenum" id=
+"Page_284">[284]</span> cost 500 gold pieces.” At Tinnīs also was
+made the wonderful iridescent fabric called
+<em>Būkalamūn</em>,—probably from Abū-Kalamūn, the chameleon, as
+Col. Yule suggests,—which was said to change colour at different
+hours of the day, and was used for saddle-cloths and for covering
+the royal litters. At Beny Suweyf was manufactured an excellent
+sort of linen, called Alexandrian, which was exported to
+Europe.</p>
+
+<div class="figcenter">
+<figure id="i100"><a href="images/fig100_large.jpg"><img src=
+'images/fig100.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 100.—SILK FABRIC OF ICONIUM.</p>
+
+<p class="cp2">Thirteenth Century. (<em>Lyons Museum.</em>)</p>
+</figure>
+</div>
+
+<p>All these manufactures were in great demand during the centuries
+of luxurious splendour which the independent rulers of Egypt
+enjoyed. The Fātimy Khalifs were fond of display beyond the dreams
+of even Oriental potentates, and many records of their sumptuous
+attire, their “gloss of satin and glimmer of pearls,” have come
+down to us. There is a piece bearing the name of the Fātimy
+El-Hākim preserved at Nôtre-Dame at Paris, which shows the richness
+of the materials and the splendour of the colours; and El-Makrīzy
+and other historians are full of the wonderful fabrics in which
+“the soul of my lord delighted.” Some of these, like the countless
+dresses of ‘Abda, daughter of the Khalīf El-Mu‘izz, were of
+Sicilian manufacture; but others were Persian, Anatolian, and
+native. We read of quantities of silk, shot with gold, and
+embroidered with the portraits of kings, and the tale of their
+deeds; of a piece of silk made at Tustar, in Persia, by order of
+the Khalif El-Mu‘izz, in 964, which represented in gold and
+colours, on a blue ground, a sort of map of the various countries
+in the world, with cities, rivers, roads, and mountains, and their
+names embroidered in gold, and it is not surprising that this work
+cost 22,000 gold dīnārs. Among the objects described in the
+celebrated inventory of the possessions of the Fātimy Khalif
+El-Mustansir (to which the preceding example belonged) were several
+magnificent tents made of cloth of gold, velvet, satin, damask and
+silk; some plain, some covered with representations of men,
+elephants, lions, peacocks and horses, and lined within with velvet
+or satin, silk from China, Tustar or Rūm, shot with fine gold. One
+huge pavilion of this kind was made for the Vizir<span class=
+"pagenum" id="Page_285">[285]</span> Yāzūry; the pole, which was
+sixty-five cubits high and six and two-thirds thick, was a gift
+from the Greek Emperor; the stuff was embroidered with figures of
+animals and the like, and the making of it is said to have occupied
+150 men for nine years, at a cost of 30,000 dīnārs. Another tent of
+this description, made at Aleppo, was supported by the mainmast of
+a Venetian galley, and it required seventy camels to transport it
+to the place where it was set up. A third was named
+<em>El-Katūl</em>, “the killer,” because a man was sure to be
+crushed in pitching it. Behnesa was the place where such tents were
+often made, as well as many kinds of royal stuffs, embroideries and
+needlework, and large carpets, thirty cubits long, which were worth
+10,000 grains of gold. The chief weavers and embroiderers of these
+magnificent fabrics were Copts, and to their influence may be
+ascribed the introduction of figures of animals and portraits of
+heroes and princes, a practice against the spirit of Mohammadan
+art, but quite in accordance with the traditions of the decorative
+work of the Lower Empire. Some concession was, however, made to
+Muslim prejudice by the skilful workmen of the Fātimis. If they
+would at times introduce the forbidden portrait of an animate
+being—under pain of being ordered on the Day of Judgment to find a
+soul for their portrait, or else to be dragged on their faces to
+hell—they would oftener depict such fabulous creatures as the
+griffin and the winged lion of Assyria, which fitly portrayed, to
+the Muslim mind, the fabulous beast Borāk on which the blessed
+Prophet made his miraculous dream-journey; or they would represent
+the harmless form of the <em>hom</em>, or tree of life. The
+employment of Christians to weave such unorthodox designs as beasts
+and even human beings, however, was in itself a salve to the Muslim
+conscience: for the Christian weaver and not the Mohammadan wearer
+might be expected to receive the punishment. And the same
+consolation soothed the religious mind when it contemplated the
+rich silk tissues which the same impious infidel, unmindful of the
+Prophet’s command that<span class="pagenum" id=
+"Page_286">[286]</span> silk was not permissible to his followers,
+had wrought for the believer’s attire. A frequent characteristic of
+Saracen (and modern Eastern) weaving is the mixture of cotton or
+linen thread with the silk; and this was only another mode of
+evading the disagreeable ordinance of the tasteless Prophet of
+Islam.</p>
+
+<p>Nāsir-i-Khusrau, who travelled in Egypt during the reign of
+El-Mustansir, gives us a glimpse of the magnificence of the Fātimy
+Court, in the eleventh century, which, coming from an eyewitness,
+is even more valuable than the traditions reported by El-Makrīzy.
+He describes the Khalif’s tent as made of satin of Rūm, covered
+with gold embroidery, and sown with precious stones. The furniture
+inside was of the same material, and so large was the pavilion that
+a hundred horsemen could stand in it. The entrance passage was
+lined with the “chameleon” fabric of Tinnīs. The Khalif’s state
+escort of 10,000 horsemen had all saddle-cloths of satin and
+“chameleon,” and even the trappings of the camels and asses were
+covered with gold plates and precious stones. At the cutting of the
+Canal, always an imposing ceremony at Cairo, the Khalif appeared
+clad in a white robe with a large tunic, costing 10,000 dīnārs, a
+turban of white stuff, and a valuable whip in his hand. Three
+hundred attendants preceded him, attired in Rūm brocade, and
+bearing pikes and axes, with bandelets on their legs; and the dress
+of the bearer of the jewelled parasol over the Khalif cost 10,000
+dīnārs. These values are doubtless exaggerated, and the figures run
+suspiciously often to ten thousand; but the main fact is that
+Nāsir-i-Khusrau, a competent and travelled witness, was dazzled
+with the splendour of the fabrics which he saw at the Fātimy
+Court.</p>
+
+<p>Although it belongs to a later period, the engraving, <a href=
+"#i100">fig. 100,</a> may serve to give some idea of the silk
+fabric of Rūm. It is reproduced from an engraving which has been
+kindly lent me by M. Giraud, the keeper of the Archaeological
+Museum at Lyons, and it has been made the subject of a special
+essay by M. Pariset. Like the cope of St. Mexme, preserved in
+the<span class="pagenum" id="Page_287">[287]</span> church of St.
+Etienne, at Chinon, this silk garment of Lyons had been converted
+into a church vestment—a chasuble. The following is an abridgment
+of M. Pariset’s description of this remarkable specimen, which,
+though not itself of Egyptian manufacture, may nevertheless be held
+an example of the kind of silk weaving done by Saracen looms in the
+first half of the thirteenth century.<a id=
+"FNanchor_85"></a><a href="#Footnote_85" class=
+"fnanchor">[85]</a></p>
+
+<p>The warp is of crimson silk, in two parts; one laid on ribands
+forms the plain ground, the other makes the pattern. The woof is
+also of red silk, of a delicate shade, but fast, and perfectly
+preserved, produced with cochineal (or perhaps kermis). The fabric
+thus belongs to the class called <em>holosericum</em>, because
+entirely made of silk, with no mixture of cotton. The present
+specimen, however, is enriched by a second woof, of gold, which
+alternates with the silk woof, and, traversing the whole breadth of
+the material, helps to form the design, while the silk woof makes
+the red ground. Such stuff was highly prized in the middle ages
+under the name of <em>chrysoclavum fundatum</em>. The gold thread
+consists of a silk core covered with gilt paper. Drawn gold thread
+was not used in ancient times, and leaf gold was the ordinary form
+of the precious metal employed for embroidery. The Chinese invented
+the process of laying thin gold leaf upon paper and rolling it
+round silk thread, and the Arabs, always in intimate trade
+relations with China, learned the process from the Celestials, and
+regularly employed it from the tenth to the fourteenth centuries.
+Great strength was attained when thin cows’ hide or other skin was
+used instead of paper.<a id="FNanchor_86"></a><a href=
+"#Footnote_86" class="fnanchor">[86]</a> Though the object of the
+gold paper is of course to economise the<span class="pagenum" id=
+"Page_288">[288]</span> precious metal, the gold used for this
+example is very pure and rich. The arrangement of the woof is a
+proof of Oriental origin, and the design confirms this conclusion.
+Simple as it is—a pair of lions or griffins back to back, in a
+circular medallion bordered with flowers—it is characteristically
+Eastern. We have seen many instances of such opposed animals and
+birds on the metal-work and carving of the thirteenth century, and
+there is no doubt that the design is much older than Mohammadan
+times, and goes back to the productions of the old artists of
+Mesopotamia and Persia. We read in Quintus Curtius of robes worn by
+Persian satraps, adorned with birds beak to beak—<em>aurei
+accipitres veluti rostri in se irruerent pallam adornabant</em>.
+Plautus mentions Alexandrian carpets ornamented with beasts:
+<em>Alexandrina belluata conchyliata tapetia</em>.<a id=
+"FNanchor_87"></a><a href="#Footnote_87" class="fnanchor">[87]</a>
+There is indeed reason to believe that the notion of such pairs of
+birds or beasts may have originated with the weavers of ancient
+Persia, and have been borrowed from them by the engravers of
+metal-work; for the advantage of such double figures would be
+specially obvious to a weaver. The symmetrical repetition of the
+figure of the bird or animal, reversed, saved both labour and
+elaboration of the loom. The old weavers, not yet masters of
+mechanical improvements, were obliged to work their warp up and
+down by means of strings, and the larger the design the more
+numerous became these strings and the more complicated the loom.
+Hence, to be able to repeat the pattern in reverse was a
+considerable economy of labour, and could be effected very simply
+on a loom constructed to work <em>à pointe et à reverse</em>.
+Examples of such repetitions of patterns, especially of symmetrical
+pairs of animals within circles, are common in Byzantine and
+Sassanian woven work, and the Saracens followed these models.
+Finally our piece of silk bears part of an Arabic inscription,
+which runs <em>‘Ala-ed-dīn Abu-l-Feth Kay-Kubād,<span class=
+"pagenum" id="Page_289">[289]</span> son of Kay Khusrau, witness to
+the Prince of the Faithful</em>. This Kay-Kubād was a Seljūk Sultan
+of Rūm, and reigned at Iconium, &amp;c., from 1214 to 1239
+<span class="sc2">A.D.</span>, and the occurrence of his name on
+the garment shows that it was a <em>tirāz</em> made at a special
+royal factory, reserved, like that at Tinnīs, for the exclusive use
+of the particular sovereign. This factory was no doubt in Rūm, and
+probably at the capital, Kōniya (Iconium), or perhaps one of the
+other large cities. “In Turcomania,” says Marco Polo, “they weave
+the finest and handsomest carpets in the world, and also a great
+quantity of fine and rich silks of cramoisy and other colours, and
+plenty of other stuffs. Their chief cities are Conia, Savast
+[Sīvās], and Casaria [Kaysarīya].”<a id="FNanchor_88"></a><a href=
+"#Footnote_88" class="fnanchor">[88]</a> At all events there can be
+no doubt that this is the silk of Rūm of which we read so often in
+the records of state ceremonies and robes of honour in the Arabic
+histories.</p>
+
+<p>An interesting parallel to the royal silk factory, or
+<em>Dār-et-tirāz</em>, of Kay-Kubād, and to that of the Fātimy
+Khalif at Tinnīs, is found in the similar institution at Palermo,
+which owed its foundation to the Kelby Amīrs who ruled Sicily as
+vassals of the Fātimis in the ninth and tenth centuries, though it
+maintained its special character and excellence of work under the
+Norman kings. The factory was in the palace, and the weavers were
+Mohammadans, as indeed is obvious from a glance at the famous silk
+cloth preserved at Vienna, and called the “Mantle of Nürnberg,”
+where a long Arabic inscription testifies to the hands that made
+it, by order of King Roger, in the year of the Hijra 528, or
+<span class="sc2">A.D.</span> 1133.<a id="FNanchor_89"></a><a href=
+"#Footnote_89" class="fnanchor">[89]</a> Just as our piece of silk
+from Rūm is the <em>locus classicus</em>, so to say, for Anatolian
+weaving in the thirteenth century, and the Nôtre Dame silk for the
+Fātimy work of the beginning of the eleventh century, so this
+Nürnberg mantle gives us the type of Siculo-Arab work in the
+twelfth century, and enables us to form<span class="pagenum" id=
+"Page_290">[290]</span> some conception of what manner of hangings
+William of Palermo intended when he described the palace of Roger
+of Sicily:—</p>
+
+<div class="linegrp-container">
+<div class="linegrp">
+<div class="group">
+<div class="line indent0">To enter fu encertines</div>
+
+<div class="line indent0">De dras de soie à or ouvres</div>
+
+<div class="line indent0">À œuvres d’or et à paintures,</div>
+
+<div class="line indent0">À maintes diverses figures</div>
+
+<div class="line indent0">D’oisiax, de bestes, et de gens.</div>
+
+<div class="line indent0">Les chambres furent par dedans.</div>
+
+<div class="line indent0">Paintes et bien enluminées.<a id=
+"FNanchor_90"></a><a href="#Footnote_90" class=
+"fnanchor">[90]</a></div>
+</div>
+</div>
+</div>
+
+<p>Of the thirty examples of “Saracenic” fabrics illustrated in
+Fischbach’s beautiful work, “The Ornament of Textile Fabrics,” the
+great majority are Sicilian, and although they are chiefly of the
+twelfth and thirteenth centuries, and most of them evidently woven
+by artists who were ignorant of Arabic, the designs are
+unmistakably Saracenic. The medallion arrangement of earlier times
+gives place on these Palermo fabrics to bands or rows of fabulous
+beasts, birds, and fish, generally in blue and green, on a deep-red
+ground, divided by bands of mutilated Arabic inscriptions or
+arabesque and geometrical panels.</p>
+
+<p>This description of the silk chasuble of Rūm has brought us
+nearly to the time of the Mamlūks, and we shall find that these
+sumptuous sovereigns were as ardent patrons of the textile art as
+the Fātimis. Some of the Mamlūk Sultans indeed prided themselves on
+a distinguished simplicity of attire, but the same cannot be said
+of their followers. The Amīr Salār, in the time of En-Nāsir, made
+himself famous by (among other services to the State) introducing a
+novel style of vest of white Ba‘lbekk linen, sometimes strewn with
+precious stones. Another Mamlūk lord, of the court of Beybars, was
+allowed two gold brocade caps a month, each worth fifty dīnārs, and
+a turban at forty; and Beybars himself, though he preferred to
+dress simply in black silk with no gold or jewels, made amends for
+his austerity by the rich apparel of his suite, and by the portable
+mosque, entirely<span class="pagenum" id="Page_292">[292]</span>
+constructed of woven stuffs, attached to his tent. A pavilion of
+red satin, with silken cords and pegs of sandalwood, strengthened
+with bands of silver gilt, was the Mamlūk idea of elegance. The
+description in <a href="#Page_32">Chapter I.</a> of a state pageant
+under Beybars shows what display the Mamlūks thought suitable to
+their dignity; and the golden silk standards, the dresses of the
+pages, and rich housings of the horses, must have made the silk
+weavers a very flourishing community at that time. Silk was a
+passion with the Mamlūks; they lined their cuirasses with silk,
+housed their chargers in silk, wrapped their letters in silken
+covers, waved it in the air as flags, trod it under foot as
+drugget, hung it along the streets and over the shops on gala days;
+they wore it on their heads, and on their bodies; everything must
+be of silk brocade; their fairest slaves were exposed for sale in
+silken veils shot with gold thread; and though the Sultan Lāgīn
+tried to put a stop to this bravery of attire, and issued sumptuary
+laws against gold embroidery in the caps and turbans of his
+Mamlūks, the reform was but temporary. The inventor of the new
+waistcoat flourished after Lāgīn’s reforms had been forgotten, and
+Barkūk soon introduced the Cherkis caps, with their spiral ornament
+and capacious dimensions.</p>
+
+<div class="figcenter">
+<figure id="i101"><a href="images/fig101.jpg"><img src=
+'images/fig101.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 101.—DAMASK, WORN BY HENRY THE SAINT.</p>
+
+<p class="cp2">Eleventh Century. (<em>Bamberg Museum.</em>)</p>
+</figure>
+</div>
+
+<p>Apart from royal robes, the most handsome stuffs were devoted to
+the manufacture of the dresses of honour (<em>Khil‘as</em>) which
+Mohammadan princes were pleased to bestow on those who had
+succeeded in winning their royal approbation. A welcome ambassador,
+the bringer of good news, a Court favourite, a newly appointed
+official, or a servant who had done something (or nothing) that
+pleased his master, would be forthwith presented with a robe of
+honour perfumed with amber and musk. There was a precise etiquette
+about these dresses, and it was a matter of deep moment that the
+robe should be appropriate to the rank of the person to be thus
+distinguished. To give the wrong dress would be like giving the
+Michael and George to an Indian officer, or the C.I.E. to an
+Australian. El-Makrīzy carefully<span class="pagenum" id=
+"Page_293">[293]</span> distinguishes between the <em>Khil‘as</em>
+bestowed on men of the sword and those given to men of the pen. Of
+the former, the Centurions, or captains over 100, who were mighty
+lords, enjoyed the finest kind of robes. Red satin of Rūm, lined
+with yellow satin from the same country, formed the chief material,
+but the outer garment was embroidered with gold, and trimmed with
+miniver and beaver. A little cap of gold brocade was worn under the
+turban, the fine muslin of which was adorned with silk embroidery,
+while the extremities were formed by bands of white silk, bearing
+the titles of the Sultan. A girdle, enriched with rubies, emeralds,
+and pearls; a sword, inlaid with gold; a horse and gold housings
+from the royal stable, completed the equipment of a person
+distinguished by a dress of honour of the first rank. The prince of
+Hamāh, says El-Makrīzy, received such a dress as this, only instead
+of muslin, the <em>shāsh</em> or turban was made of silk, shot with
+gold, manufactured at Alexandria. Less noble personages received a
+<em>Khil‘a</em> of the silk fabric called, from its designs,
+<em>tardwahsh</em>, “beast-hunts,” which was also manufactured at
+Alexandria, as well as at Misr [Cairo] and Damascus. The dress was
+made of several bands of different colours, intermingled with
+gold-shot cambric, with embroidery between, and a border of
+cambric. The gold cap, girdle, and turban, as before, completed the
+dress of honour for a petty lord. The lower the rank the plainer
+and simpler became the robe of honour, and the degrees of
+difference were finely graduated. Vizīrs, and men of the pen, were
+arrayed in robes of white <em>kangy</em>, or stuff of Kanga,
+trimmed with beaver, and lined with miniver. The under garment was
+of green <em>kangy</em>, and the turban of <em>dimity</em>, or
+linen of Damietta, embroidered. Lower ranks were deprived of the
+miniver lining, and had no fur on their sleeves. Judges and learned
+men had their robes of honour made of wool, without borders, white
+outside, and green underneath.</p>
+
+<p>The number of specimens of mediaeval textiles made by the
+Saracens that have been preserved to this day is
+unhappily<span class="pagenum" id="Page_294">[294]</span> very
+small. Naturally silk is more perishable than stone or metal, and
+it was not to be expected that dresses should have outlived the
+vicissitudes of wear and fire to which such materials are exposed.
+The fine series of “Saracenic” stuffs lithographed by Fischbach in
+his “Ornament of Textile Fabrics” are, in my judgment, very rarely
+the work of Saracens. Most of them were probably made by
+Sarrasinas, or imitators of Saracenic style, at Palermo, Lucca, and
+other towns, where enterprising rulers imported Byzantine, Greek,
+and Oriental weavers to teach their own subjects. The mutilation of
+the Arabic inscriptions and the European development of the
+Saracenic ornament are signs of copyists, who were doubtless the
+successors of true Saracen artists, or at least were originally in
+communication with the chief centres of loom-industry in the
+East.<a id="FNanchor_91"></a><a href="#Footnote_91" class=
+"fnanchor">[91]</a> Nos. 144 and 145 of that work are, however,
+exceptions to the generally European character of the “Saracenic”
+illustrations. They belong to a cloak at Regensburg (Ratisbon),
+said to have been worn by the Emperor Henry VI., who died at
+Messina, and who may have had it as a present from the Norman King
+of Sicily. An Arabic inscription worked in the fabric states that
+it was made by Ustād (foreman) ‘Abd-el-‘Azīz for King William II.,
+who reigned in Sicily from 1169 to 1189. Another Arabic inscription
+contains a benedictory formula. This example is characteristically
+Saracenic: beasts of the chase, whorls, rosettes, and medallions,
+filled with geometrical ornament,<span class="pagenum" id=
+"Page_296">[296]</span> and a large gold band of benedictory
+inscription, recall Mamlūk decoration.</p>
+
+<div class="figcenter">
+<figure id="i102"><a href="images/fig102.jpg"><img src=
+'images/fig102.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 102.—SILK FABRIC OF EGYPT OR SICILY.</p>
+
+<p class="cp2">(<em>Nurnberg Museum.</em>)</p>
+</figure>
+</div>
+
+<p>The illustration <a href="#i101">fig. 101</a> represents a
+damask garment, worn by Henry the Saint, 1002-1024, now in the
+Bamberg Museum. Here we see the system of ornament in medallions
+which the Saracens adopted from the Sassanian weavers of Persia.
+The pairs of lions (or chītahs), winged griffins, and parrots,
+closely resemble the style of Mōsil metal-work, and the geometrical
+borders are no less characteristic. Wherever the stuff was made (a
+point on which information is wanting), there can be no doubt that
+it is a typical example of early Saracenic weaving, which was
+founded upon and closely resembled the textile fabrics of the
+Sassanians and Byzantines. <a href="#i100">Fig. 100,</a> the Seljūk
+silk, already described, preserves the main design of pairs of
+animals in medallions, but the surrounding ornament betrays the
+influence of the arabesque style. <a href="#i102">Fig. 102</a>
+represents a silk fabric at Nürnberg, which Fischbach describes as
+Siculo-Saracenic, and on which the human-headed sphinxes suggest an
+Egyptian influence, such as was exerted by the Fātimy Khalifs upon
+their Sicilian vassals. The ground is dark-red, the sphinxes are
+woven in gold thread, and the foliage is green. Prisse d’Avennes
+has also some excellent illustrations of Saracenic textiles: one
+from the Utrecht Museum, with stiff-looking green and red peacocks,
+beak to beak like the <em>aurei accipitres</em> of Q. Curtius, may
+be of the twelfth or thirteenth century, and an even earlier date
+may be claimed for the silk preserved at Toulouse, with its bird
+decoration, and benedictory Kufic inscriptions.</p>
+
+<p>The history of textile ornament is strikingly illustrated by
+such mediaeval fabrics as have been preserved in royal and
+ecclesiastical vestments, formed out of the spoils which the
+Crusading collector or the ambassador to Eastern Courts brought
+home. An attentive study of the admirable series of 160 plates
+published by Fischbach leaves no doubt either of the
+Sassano-Byzantine origin of Saracenic weaving, or of the
+penetrating influence of Saracenic design over the<span class=
+"pagenum" id="Page_297">[297]</span> early loom-workers of Italy
+and Sicily. How much Europe owes to Eastern design in textile
+fabrics may be judged from the prevailing Saracenic character of
+all the Italian work of the thirteenth, fourteenth, and fifteenth
+centuries; whence all Europe derived the artistic impulse.</p>
+
+<p>The art of weaving, if it has languished in some centres where
+once it flourished, has not altogether died out in Egypt and Syria.
+A large proportion of the beautiful mixed silk and cotton stuffs
+that are offered for sale in the bazaars of Cairo are of native
+manufacture, though European dyes have not improved the colours.
+Kufīyas of yellow, red, and blue striped silk, shot with gold,
+familiar to all travellers in the East, are still made of exquisite
+beauty and delicacy, and the striped <em>gubbas</em> still worn by
+tradespeople, and, till the frock-coat invaded the East, by
+gentlemen, in Egypt, are generally made by Oriental weavers.
+Damietta indeed no longer manufactures its famous dimity, but there
+are plenty of cotton factories in Egypt, at Demenhur, Ikhmīm and
+Cairo, and silk is still woven at the capital. Beny Suweyf, once
+famous for its linen, now makes only a coarse kind for the common
+people, besides woollen carpets; and linen and cotton factories are
+still seen at Mansūra.</p>
+
+<hr class="chap">
+
+<h2><span class="pagenum" id="Page_298">[298]</span><a id=
+"c12"></a>CHAPTER XII.</h2>
+
+<p class="sch1">ILLUMINATED MANUSCRIPTS.</p>
+
+<p class="nind"><span class="sc">Among</span> the minor arts of the
+Mohammadans, none is more individual and characteristic than that
+of illuminating manuscripts. Possessing in the Naskhy or cursive
+hand a script unrivalled in flexuous elegance, the art of
+calligraphy may be said to have been forced upon the Saracens.
+Penmanship soon took its place next to scholarship in the
+estimation of the wise, and the names of great calligraphists, like
+Ibn-Mukla and Yākūt Er-Rūmy, became almost as famous as those of
+the poets and historians who provided them with the materials upon
+which to exercise their art. Many of the ordinary books of
+reference, such as dictionaries and annals, were transcribed with
+fastidious care in the fine bold Naskhy character, and a further
+step was taken when illumination was added to the beauty of
+penmanship. This embellishment was, however, reserved for the book
+of books, the “noble Korān,” alone.<a id="FNanchor_92"></a><a href=
+"#Footnote_92" class="fnanchor">[92]</a> Ordinary manuscripts might
+be beautifully written, but the Korān only was ornamented with the
+rich illuminated title-pages and marginal medallions which form the
+chief points of decoration in Arabic manuscripts. It is only
+necessary to turn over the leaves of the thirteenth century Korān,
+preserved in the British Museum (Orient. 1009), to realise
+what<span class="pagenum" id="Page_300">[300]</span> infinite
+pains, what elaboration of the few decorative elements at their
+disposal, what skill in the arrangement and application of gold and
+colours, the Mohammadan illuminators expended upon their sacred
+book. The first two and last two pages are the subjects of
+specially rich decoration. They form each a rich panel, resembling
+a magnificent carpet. A central ornament of intricate geometrical
+or arabesque design, with the usual inscription, “Let none touch it
+save the purified,” (by which the Muslim warns those who would
+handle the sacred volume to first perform the prescribed religious
+ablutions,) is surrounded by three borders, composed (1) of a sort
+of key-pattern, like what we have seen on Mōsil metal-work, on a
+gold ground, (2) of flowers in various colours on a prevailing blue
+ground, and (3) of free scroll-work, showing the simple elements of
+the arabesque, which afterwards received such manifold elaboration.
+There are generally four or five such full-page illuminations in
+the best Korāns, two or three at each end of the volume. The
+remaining pages are less richly ornamented: the headings of
+chapters alone are framed in gold and colours, with arabesque and
+geometrical borders, and the outer margins of the leaves are
+enriched with numerous medallions, filled with arabesques and other
+designs. In the example referred to, these medallions are
+exceptionally numerous and varied. There are about three to each
+page, and their designs, notwithstanding their small compass—for a
+floral border enclosing a gold rosette is the prevailing
+type—present every change and contrast that the illuminator’s
+ingenuity could suggest. The colours are chiefly carmine, deep
+blue, black and gold, but green and yellow sometimes appear. The
+bold writing—called <em>Thuluth</em>, or “Thrice-Naskhy”—of the
+text is lightened by gold rosettes and other ornaments, to indicate
+the punctuation and other directions to the person who chanted the
+Korān. The character of the flowers and arabesques, and the
+scarceness of pure geometrical ornament, lead to the impression
+that this beautiful manuscript was illuminated at Damascus; but it
+may<span class="pagenum" id="Page_301">[301]</span> have been the
+work of Cairo artists, trained in the Syrian school. Its date can
+hardly be later than the thirteenth century.</p>
+
+<div class="figcenter">
+<figure id="i103"><a href="images/fig103_large.jpg"><img src=
+'images/fig103.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 103.—ILLUMINATED KORAN OF SULTAN SHA‘BAN.</p>
+
+<p class="cp2">Fourteenth Century. (<em>Viceregal Library,
+Cairo.</em>)</p>
+</figure>
+</div>
+
+<p>Another very splendid copy of the Korān in the British Museum
+(Add. 22,406) bears inscriptions which prove that it was written
+for Beybars Gāshenkīr in the years 704-5, or <span class=
+"sc2">A.D.</span> 1304-5, while he was still <em>Ustāddār</em>, or
+major-domo, to the Sultan En-Nāsir ibn Kalaūn, and had not yet
+ascended the throne himself. It was no doubt prepared for his
+Khāngāh, or conventual mosque, which was completed in 706, and is
+still standing. This magnificent manuscript is in seven volumes,
+and is written from beginning to end in gold letters (within a
+delicate ink outline) on a ground resembling the key-pattern of the
+early metal-work. The first two pages are, as usual, fully
+illuminated, and covered with splendid arabesques in gold, on blue
+and red ground, with the inscription “Let none touch it save the
+purified” in white. The next two pages are framed with interlaced
+borders; but the rest of the volume, except the last page, has only
+the customary medallions, to mark the divisions of the text, and
+the rosettes and whorls, of red, blue, and gold, which are inserted
+in the writing for purposes of punctuation and accent. The marginal
+medallions are much less frequent than in the previously described
+Korān, and the designs are more monotonous. On the last page,
+within a gold frame with interlaced border, is the inscription</p>
+
+<p class="right"><span class="arabic">امر بكتابة هذا السبع الشريف
+واحواته المقر الكريم العالى المولوى الاميرى الكبيرى الركنى استاد
+الدار العالية اعز الله نصره وكتب محمد بن الوحيد</span>
+</p>
+
+<p class="nind">“The writing of this noble Seventh and its sisters
+was ordered by his excellency, the generous, the exalted, the lord,
+the great Amīr, Rukn-ed-dīn, major domo altissimo, God magnify his
+triumphs; and Mohammad ibn El-Wahīd wrote it.” In the marginal
+medallions of the same page are the words <span class="arabic">ذهبه
+محمد بن مبادر عفا الله عنه</span>, “Mohammad ibn Mubādir gilded it,
+God assoil him!” Another of the seven volumes, or “sisters,”
+opens<span class="pagenum" id="Page_302">[302]</span> with
+magnificent geometrical panels filled with arabesques within a free
+scroll border; the pages are literally stiff with gold. At the end
+is an inscription similar to that already translated, but with the
+addition “and he finished the whole of it in the year 705.” A
+portion of the margin of another volume gives the name of Sandal as
+the gilder, <span class="arabic">تذهيب صندل</span>; and the seventh
+part has the further information that this volume “was incrusted
+(<span class="arabic">زمك</span>) by Aydaghdy ibn ‘Abd-Allah
+el-Bedry,” which raises a difficulty as to what this “incrustation”
+was. The word is frequently employed to designate the laying on
+both of ink and of gold on a manuscript; but the previous use of
+the words <span class="arabic">كتب</span> and <span class=
+"arabic">ذهب</span> for these two processes seems to suggest some
+different operation in the case of Aydaghdy. Dr. Rieu thinks it may
+refer to the delicate outlining of the characters, but this would
+more probably be termed <span class="arabic">كتابة</span>. Perhaps
+the <span class="arabic">زمك</span> was the laying on of the
+colours, as distinguished from the <span class=
+"arabic">تذهيب</span>, or gilding. It should be noticed that in
+this example the colours of the medallions, &amp;c., are
+<em>painted over the gold</em>, which gives them a peculiar
+brilliancy.</p>
+
+<p>A third Korān in the British Museum (Orient. 1401) is
+later—probably of the end of the fifteenth or beginning of the
+sixteenth century—and the decoration is very inferior to that of
+the two preceding examples. The rosettes and medallions are
+comparatively few, and the ornament is over-intricate, with
+something of the Alhambra effect. The headings of chapters are
+good, but the execution is coarse; the full pages at the beginning
+and end present some fine arabesques, but none of the designs
+approach in delicacy those of the first Korān described above. The
+colours are again laid over gold.</p>
+
+<p>In the South Kensington Museum are the first two pages of a
+magnificent Korān, belonging to the fourteenth century. They
+contain the first chapter and the beginning of the second chapter
+of the Korān, in gold letters on a ground shaded with red lines,
+and covered with beautiful scrolls in two shades of blue;
+the<span class="pagenum" id="Page_304">[304]</span> border is of
+gold arabesque scroll-work on a blue ground, with here and there a
+red flower-like ornament. In the same Museum are a pair of fine
+leather boards, forming the binding of a Korān, upon which little
+less skill has been expended than upon the illumination of the
+manuscript itself. One of these is covered with gold tooling, and
+has a border containing “the Beautiful Names” of God; the other is
+tooled with a floral design with an oval centre. These are fine
+specimens of Saracenic book-binding, and probably date from the
+fourteenth or fifteenth century.</p>
+
+<div class="figcenter">
+<figure id="i104"><a href="images/fig104_large.jpg"><img src=
+'images/fig104.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 104.—ILLUMINATED KORAN OF SULTAN SHA‘BAN.</p>
+
+<p class="cp2">Fourteenth Century. (<em>Viceregal Library,
+Cairo.</em>)</p>
+</figure>
+</div>
+
+<p>The finest illuminated Korāns in the world, however, are still
+preserved in Cairo, where the Khedive’s library contains the
+volumes which have been rescued from the chief mosques of the city.
+Like the glass lamps, these precious manuscripts were no longer
+safe in the custody of the mosque guardians; enterprising
+collectors proved dangerous to mosque treasures; and the score of
+splendid <em>mushafs</em>, or copies of the Korān, now stored in
+the Darb-el-Gemāmīz, were prudently saved in time. The earliest of
+these is said to date from the second century of the flight, and
+thus to be nearly twelve hundred years old; but the tradition is
+somewhat apocryphal. The best examples, from the point of view of
+illumination, belong to the period of the Mamlūk Sultans, like most
+other works of art in Egypt. Three specimens of these Mamlūk
+manuscripts are given in <a href="#i103">figs. 103-5,</a> after
+Professor Ebers’ “Egypt,” but the size of the present volume
+unfortunately precludes the possibility of representing more than a
+quarter of each page. The designs are, however, sufficiently shown
+even in this mutilated form, and perfect justice could not be done
+to them without reproduction in the true colours and gilt. The
+following is the description of the chief Korāns in the Khedive’s
+library, as described by Spitta Bey, the late librarian:<a id=
+"FNanchor_93"></a><a href="#Footnote_93" class=
+"fnanchor">[93]</a>—The first is a Korān of Sultan Mohammad
+En-Nāsir ibn Kalaūn (1293-1341), 21 by 14 inches, written by Ahmad
+Yūsuf, a Turk,<span class="pagenum" id="Page_306">[306]</span> in
+730 of the Higra. It is written entirely in gilded characters, and
+there is also a second copy of a similar description. Several other
+Korāns date from the reign of Sultan Sha‘bān (<span class=
+"sc2">A.D.</span> 1363-77), grandson of the last named, to whose
+mosque they were dedicated. The first of these, dating from 769,
+27½ by 19½ inches, has not its titles written in the usual Cufic
+character, and the headings “in the name of God the all-merciful”
+are in gold. Of the same date and similar size is the Korān of
+Khawend Baraka, mother of Sha‘bān. The first two pages are written
+in gilded and coloured characters, blue being the prevailing
+colour, and are illuminated with stars and arabesques; the next two
+are in gold, embellished with faint arabesques; and the whole work
+is written in a bold and excellent style. Another copy of Sultan
+Sha‘bān, dating from 770, of the same width, but a little longer,
+contains some beautiful workmanship on the early pages. The text is
+wider than that of the last, and the book is bound in two volumes.
+Another and still larger copy, dating from the same year, measures
+32¾ by 21 inches. All these last were destined for the school in
+the Khutt et-Tabbāneh (street of the straw-sellers), founded by
+Baraka, the Sultan’s mother. Lastly we may mention another copy
+written in 778 (1377), by order of the same prince, by ‘Aly ibn
+Mohammad El-Mukettib, and gilded by Ibrāhīm El-Amidy. This copy
+measures 28 by 20¼ inches, and above each sūra is recorded the
+number of words and letters it contains. All these masāhif are
+written on thick and strong paper, and vie with each other in
+magnificence. The designs exhibit no great variety, but they are
+executed with the most elaborate care and neatness. The text of
+these Korāns is provided with red letters written above certain
+passages to indicate where the tone of the reader’s voice is to be
+raised, lowered, or prolonged.</p>
+
+<div class="figcenter">
+<figure id="i105"><a href="images/fig105_large.jpg"><img src=
+'images/fig105.jpg' alt='' class="iw12"></a>
+<p class="cp1">FIG. 105.—ILLUMINATED KORAN OF SULTAN
+EL-MUAYYAD.</p>
+
+<p class="cp2">Early Fifteenth Century. (<em>Viceregal Library,
+Cairo.</em>)</p>
+</figure>
+</div>
+
+<p>The collection contains three Korāns of the reign of Sultan
+Barkūk (1382-99), the oldest of which measures 41 by 32 inches. It
+was written by order of Mohammad ibn Mohammad, surnamed<span class=
+"pagenum" id="Page_307">[307]</span> Ibn-el-Butūt, by ‘Abderrahmān
+Es-Sāigh, with one pen, in sixty days, and revised by Mohammad ibn
+Ahmad ibn ‘Aly, surnamed El-Kufty. A second copy, of the same
+Sultan’s reign, and of similar size, has its first and last pages
+restored in the same style as those of other copies, but the modern
+workmanship is inferior to the ancient. A smaller Korān, of the
+year 801, measuring 23 by 19½ inches, is written entirely in gilded
+characters.</p>
+
+<p>To Sultan Farag (1399-1412), the son of Barkūk, once belonged a
+copy of the Korān dating from 814, and brought to the library from
+the mosque of El-Muayyad. It measures 37 by 29¼ inches, and was
+also written by ‘Abderrahmān Es-Sāigh, the same skilful penman who
+had been previously employed by Barkūk, and the author of a
+pamphlet, entitled “Sanā-at el-Kitāba” (‘the art of writing’), and
+now preserved in this library. From the year 810 dates a fine copy,
+38½ by 27 inches, written by Mūsa ibn Isma‘īl el-Kināny, surnamed
+Gagīny, for Sultan El-Muayyad (1412-21).</p>
+
+<p>A copy which once belonged to the mosque of Kāït-Bey, dating
+from the year 909, or a century later than the last, and
+unfortunately in a very injured condition, is the largest Korān in
+the collection, measuring 44¾ by 35 inches. To the period of the
+Ottoman Sultans belongs the small mushaf of Safīya, mother of
+Sultan Mohammad Khān, who caused fifty-two copies to be written by
+Mohammad ibn Ahmad El-Khalīl Et-Tebrīzy. It dates from 988, and
+measures 14 by 9⅓ inches. In it, as in one of the other copies, a
+black line alternates with a gilded one, and the first few pages
+are very beautifully executed. A copy of Huseyn-Bey Khemashūrgy,
+21½ by 16¾ inches, is written in a smaller character.</p>
+
+<p>The description of such manuscripts fitly concludes a book on
+Saracenic art. In illumination, as in other branches of decoration,
+the peculiar character of Saracen ornament is clearly expressed.
+The effect is that of rich embroidery, or gold brocade; in other
+words, illumination, like mosaic, plaster, wood, and ivory,
+shows<span class="pagenum" id="Page_308">[308]</span> the tapestry
+motives of Saracenic art. In the sanctuary of a mosque, or the kā‘a
+of a house, in the complicated panelling of pulpit or ceiling, and
+in the chasing of vessels of silver,—everywhere the same
+carpet-like effect strikes one. Another salient feature of
+Saracenic work is exhibited in these manuscripts: rich as they
+are,—as rich even as the exquisite Book of Kells,—they suffer from
+the inevitable restrictions of religion. Mohammad forbade portraits
+of animate things; and though we have sometimes seen the
+prohibition evaded or defied, as a rule Mohammadan art is
+figureless, and the illuminated Korāns exhibit this peculiarity.
+Yet, without this same arid creed, the special features of
+Saracenic decoration would never have been developed for the
+benefit and example of Europe.</p>
+
+<hr class="chap">
+
+<h2 class="spaced17"><span class="pagenum" id=
+"Page_309">[309]</span><a id="ind"></a><span class=
+"large letter-spaced01">INDEX</span><br>
+<span class="less">OF NAMES, TITLES, AND PLACES.</span>
+</h2>
+
+<hr class="decor width6">
+
+<ul class="index">
+<li><span class="sc">‘Abda</span>, <a href="#Page_10">10</a>
+<em>n.</em>, <a href="#Page_242">242</a>, <a href=
+"#Page_284">284</a>.</li>
+
+<li>‘Abd-el-‘Azīz, <a href="#Page_294">294</a>.</li>
+
+<li>‘Abd-el-Kerīm, <a href="#Page_213">213</a>.</li>
+
+<li>‘Abd-er-Rahmān Kikhyā, <a href="#Page_88">88</a>, <a href=
+"#Page_239">239</a>, <a href="#Page_279">279</a>.</li>
+
+<li>‘Adil, El-, <a href="#Page_12">12</a>;—<a href=
+"#Page_208">208</a>.</li>
+
+<li>Akbugha, <a href="#Page_256">256</a>.</li>
+
+<li>Aksunkur, <a href="#Page_52">52</a>, <a href=
+"#Page_279">279</a>.</li>
+
+<li>Almās, <a href="#Page_188">188</a>, <a href=
+"#Page_225">225</a>, <a href="#Page_250">250</a>, <a href=
+"#Page_272">272</a>.</li>
+
+<li>‘Aly, El-Mansūr, <a href="#Page_20">20</a>.</li>
+
+<li>Amīr, <a href="#Page_17">17</a>.</li>
+
+<li>Amīr Akhōr, <a href="#Page_30">30</a>.</li>
+
+<li>Amīr ‘Alam, <a href="#Page_25">25</a>, <a href=
+"#Page_31">31</a>.</li>
+
+<li>Amīr Bābdār, <a href="#Page_34">34</a>.</li>
+
+<li>Amīr el-Kebīr, <a href="#Page_29">29</a>.</li>
+
+<li>Amīr Gandār, <a href="#Page_30">30</a>.</li>
+
+<li>Amīr Meglis, <a href="#Page_31">31</a>.</li>
+
+<li>Amīr Shikār, <a href="#Page_31">31</a>.</li>
+
+<li>Amīr Silāh, <a href="#Page_30">30</a>.</li>
+
+<li>Amīr Tablkhānāh, <a href="#Page_31">31</a>.</li>
+
+<li>Amīr Tabar, <a href="#Page_31">31</a>.</li>
+
+<li>‘Amr, <a href="#Page_4">4</a>, <a href="#Page_51">51</a>,
+<a href="#Page_52">52</a>, <a href="#Page_64">64</a>.</li>
+
+<li>Arkatāy, <a href="#Page_272">272</a>.</li>
+
+<li>Ashraf, El-, <a href="#Page_112">112</a>; see <em>Bars
+Bey</em>.</li>
+
+<li>Ashrafy, <a href="#Page_18">18</a>, <a href="#Page_210">210</a>
+<em>n.</em></li>
+
+<li>‘Askar, El-, <a href="#Page_5">5</a>, <a href=
+"#Page_9">9</a>.</li>
+
+<li>Asyūt, <a href="#Page_123">123</a>, <a href=
+"#Page_274">274</a>, <a href="#Page_282">282</a>.</li>
+
+<li>Atābek, <a href="#Page_29">29</a>.</li>
+
+<li>Aybek, <a href="#Page_13">13</a>.</li>
+
+<li>Aydaghdy, <a href="#Page_302">302</a>.</li>
+
+<li>Aydekīn, <a href="#Page_27">27</a>.</li>
+
+<li>Ayyūbīs, <a href="#Page_10">10</a>, <a href=
+"#Page_148">148</a>.</li>
+
+<li>Azhar, El-, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>,
+<a href="#Page_52">52</a>, <a href="#Page_64">64</a>, <a href=
+"#Page_66">66</a>, <a href="#Page_98">98</a>.</li>
+
+<li>‘Azīz, El-, <a href="#Page_194">194</a>.</li>
+
+<li>‘Azīz, Ibn, <a href="#Page_196">196</a> <em>n.</em></li>
+
+<li class="ifrst"><span class="sc">Ba‘albekk</span>, <a href=
+"#Page_290">290</a>.</li>
+
+<li>Bāb-en-Nasr, <a href="#Page_66">66</a>, <a href=
+"#Page_261">261</a> <em>n.</em></li>
+
+<li>Bahādur, <a href="#Page_272">272</a>.</li>
+
+<li>Bahry, <a href="#Page_12">12</a>.</li>
+
+<li>Ballāsa, <a href="#Page_274">274</a>.</li>
+
+<li>Barkūk, <a href="#Page_52">52</a>, <a href="#Page_62">62</a>,
+<a href="#Page_64">64</a>, <a href="#Page_100">100</a>, <a href=
+"#Page_128">128</a>, <a href="#Page_138">138</a>, <a href=
+"#Page_225">225</a>, <a href="#Page_254">254</a>, <a href=
+"#Page_270">270</a>, <a href="#Page_306">306</a>.</li>
+
+<li>Bars Bey, <a href="#Page_62">62</a>, <a href=
+"#Page_118">118</a>.</li>
+
+<li>Bashmakdār, <a href="#Page_31">31</a>.</li>
+
+<li>Bawwāb, <a href="#Page_80">80</a>.</li>
+
+<li>Bedr el-Gemāly, <a href="#Page_9">9</a>.</li>
+
+<li>Behnesa, <a href="#Page_282">282</a>, <a href=
+"#Page_285">285</a>.</li>
+
+<li>Bektemir, <a href="#Page_98">98</a> <em>n.</em>, <a href=
+"#Page_225">225</a>.</li>
+
+<li>Beshtāk, <a href="#Page_272">272</a>.</li>
+
+<li>Beybars, <a href="#Page_12">12</a>, <a href="#Page_16">16</a>
+<em>n.</em>, <a href="#Page_25">25</a>-8, <a href=
+"#Page_32">32</a>, <a href="#Page_34">34</a> <em>n.</em>, <a href=
+"#Page_52">52</a>, <a href="#Page_65">65</a>, <a href=
+"#Page_98">98</a>, <a href="#Page_122">122</a>, <a href=
+"#Page_192">192</a>, <a href="#Page_223">223</a> ff., <a href=
+"#Page_270">270</a>, <a href="#Page_290">290</a>.</li>
+
+<li>Beyn-el-Kasreyn, <a href="#Page_8">8</a>, <a href=
+"#Page_28">28</a>, <a href="#Page_53">53</a>, <a href=
+"#Page_76">76</a>.</li>
+
+<li>Beysary, <a href="#Page_21">21</a>, <a href="#Page_23">23</a>,
+<a href="#Page_38">38</a>, <a href="#Page_209">209</a> ff.</li>
+
+<li>Bundukdāry, El-, <a href="#Page_27">27</a>.</li>
+
+<li class="ifrst"><span class="sc">Dar-el-‘Adl</span>, <a href=
+"#Page_11">11</a>.</li>
+
+<li>Dawādār, <a href="#Page_31">31</a>, <a href=
+"#Page_233">233</a>.</li>
+
+<li>Debīk, <a href="#Page_282">282</a>.</li>
+
+<li><span class="pagenum" id="Page_310">[310]</span>Dikka, <a href=
+"#Page_58">58</a>, <a href="#Page_80">80</a>, <a href=
+"#Page_169">169</a>, <a href="#Page_199">199</a>.</li>
+
+<li>Dimyāt (Damietta), <a href="#Page_282">282</a>, <a href=
+"#Page_297">297</a>.</li>
+
+<li>Dīnār, <a href="#Page_56">56</a> <em>n.</em></li>
+
+<li>Durkā‘a, <a href="#Page_82">82</a>.</li>
+
+<li class="ifrst"><span class="sc">Ezbek</span>, <a href=
+"#Page_272">272</a>.</li>
+
+<li class="ifrst"><span class="sc">Farag</span>, <a href=
+"#Page_236">236</a>, <a href="#Page_261">261</a>, <a href=
+"#Page_307">307</a>.</li>
+
+<li>Fārisy, El-, <a href="#Page_194">194</a> <em>n.</em></li>
+
+<li>Fātimy, <a href="#Page_193">193</a> f., <a href=
+"#Page_248">248</a>, <a href="#Page_284">284</a>.</li>
+
+<li>Ferghāna, <a href="#Page_54">54</a> <em>n.</em></li>
+
+<li>Firash-khānāh, <a href="#Page_32">32</a>.</li>
+
+<li>Fustāt, El-, <a href="#Page_4">4</a>, <a href="#Page_9">9</a>,
+<a href="#Page_274">274</a> ff.</li>
+
+<li class="ifrst"><span class="sc">Gamakdār</span>, <a href=
+"#Page_33">33</a>.</li>
+
+<li>Gāmdār, <a href="#Page_31">31</a>.</li>
+
+<li>Gandār, <a href="#Page_30">30</a>.</li>
+
+<li>Gāshenkīr, <a href="#Page_30">30</a>.</li>
+
+<li>Gauhar, <a href="#Page_8">8</a>.</li>
+
+<li>Gāwaly, El-, <a href="#Page_123">123</a>.</li>
+
+<li>Gemāly, El-, <a href="#Page_9">9</a>, <a href=
+"#Page_268">268</a> <em>n.</em></li>
+
+<li>Ghāshia, <a href="#Page_33">33</a>.</li>
+
+<li>Ghōry, El-, <a href="#Page_53">53</a>, <a href=
+"#Page_116">116</a>, <a href="#Page_120">120</a>, <a href=
+"#Page_225">225</a>.</li>
+
+<li>Gīza, <a href="#Page_11">11</a>, <a href=
+"#Page_122">122</a>.</li>
+
+<li>Gubba, <a href="#Page_32">32</a>.</li>
+
+<li>Gūkendār, <a href="#Page_31">31</a>, <a href=
+"#Page_33">33</a>.</li>
+
+<li class="ifrst"><span class="sc">Hāgib</span>, <a href=
+"#Page_30">30</a>.</li>
+
+<li>Hākim, El-, <a href="#Page_9">9</a>, <a href="#Page_52">52</a>,
+<a href="#Page_62">62</a>, <a href="#Page_64">64</a>, <a href=
+"#Page_98">98</a>, <a href="#Page_284">284</a>.</li>
+
+<li>Halka, <a href="#Page_16">16</a>.</li>
+
+<li>Hanafīya, <a href="#Page_70">70</a>.</li>
+
+<li>Hasan, Sultan, <a href="#Page_53">53</a>, <a href=
+"#Page_66">66</a>-74, <a href="#Page_100">100</a>, <a href=
+"#Page_120">120</a>, <a href="#Page_134">134</a>, <a href=
+"#Page_136">136</a>, <a href="#Page_225">225</a>, <a href=
+"#Page_250">250</a>, <a href="#Page_251">251</a>.</li>
+
+<li>Hawāig-kash, <a href="#Page_32">32</a>.</li>
+
+<li>Hawāig-khānāh, <a href="#Page_32">32</a>.</li>
+
+<li class="ifrst"><span class="sc">Ikhshīd</span>, <a href=
+"#Page_7">7</a>.</li>
+
+<li>Imām, <a href="#Page_128">128</a>.</li>
+
+<li>Ispeh-silary, <a href="#Page_210">210</a>.</li>
+
+<li class="ifrst"><span class="sc">Kā‘a</span>, <a href=
+"#Page_80">80</a> ff.</li>
+
+<li>Ka‘ba, <a href="#Page_52">52</a>, <a href=
+"#Page_225">225</a>.</li>
+
+<li>Kāfūr, <a href="#Page_7">7</a>.</li>
+
+<li>Kāfūr Es-Sālihy, <a href="#Page_255">255</a>.</li>
+
+<li>Kāhira, El-, <a href="#Page_8">8</a>, <a href=
+"#Page_9">9</a>.</li>
+
+<li>Kahlīs, <a href="#Page_258">258</a>, <a href=
+"#Page_272">272</a>.</li>
+
+<li>Kāït Bey, <a href="#Page_53">53</a>, <a href="#Page_62">62</a>,
+<a href="#Page_74">74</a>, <a href="#Page_76">76</a>, <a href=
+"#Page_100">100</a>-112, <a href="#Page_118">118</a>, <a href=
+"#Page_126">126</a>, <a href="#Page_128">128</a>, <a href=
+"#Page_136">136</a>, <a href="#Page_238">238</a>, <a href=
+"#Page_270">270</a>, <a href="#Page_272">272</a>.</li>
+
+<li>Kalaūn, <a href="#Page_12">12</a>, <a href="#Page_15">15</a>,
+<a href="#Page_18">18</a>, <a href="#Page_20">20</a>, <a href=
+"#Page_76">76</a>-8, <a href="#Page_98">98</a>, <a href=
+"#Page_116">116</a>, <a href="#Page_139">139</a>, <a href=
+"#Page_142">142</a> ff., <a href="#Page_156">156</a>.</li>
+
+<li>Kamarīyas, <a href="#Page_263">263</a> ff.</li>
+
+<li>Kāmil, El-, <a href="#Page_12">12</a>, <a href=
+"#Page_53">53</a>, <a href="#Page_98">98</a>.</li>
+
+<li>Karāfa, <a href="#Page_74">74</a>, <a href="#Page_100">100</a>,
+<a href="#Page_194">194</a> <em>n.</em></li>
+
+<li>Karākūsh, <a href="#Page_11">11</a>.</li>
+
+<li>Kāshān, <a href="#Page_276">276</a>.</li>
+
+<li>Kasīr, El-, <a href="#Page_196">196</a> <em>n.</em></li>
+
+<li>Kasr Yūsuf, <a href="#Page_11">11</a>.</li>
+
+<li>Katāi‘, El-, <a href="#Page_5">5</a>, <a href="#Page_9">9</a>,
+<a href="#Page_54">54</a>.</li>
+
+<li>Kātim-es-Sirr, <a href="#Page_31">31</a>.</li>
+
+<li>Kebsh, El-, <a href="#Page_19">19</a>.</li>
+
+<li>Ketbughā, <a href="#Page_18">18</a>-21.</li>
+
+<li>Kettāmy, El-, <a href="#Page_196">196</a> <em>n.</em></li>
+
+<li>Khalif, <a href="#Page_4">4</a>, <a href="#Page_8">8</a>,
+<a href="#Page_21">21</a>, <a href="#Page_139">139</a>.</li>
+
+<li>Khalīl, <a href="#Page_18">18</a>, <a href=
+"#Page_20">20</a>.</li>
+
+<li>Khān, <a href="#Page_87">87</a>.</li>
+
+<li>Khān el-Khalīly, <a href="#Page_18">18</a>.</li>
+
+<li>Khatīb, <a href="#Page_128">128</a>.</li>
+
+<li>Khil‘a, <a href="#Page_292">292</a>.</li>
+
+<li>Khumaraweyh, <a href="#Page_6">6</a>.</li>
+
+<li>Kibla, <a href="#Page_58">58</a>, <a href="#Page_70">70</a>
+<em>n.</em></li>
+
+<li>Kiné, <a href="#Page_274">274</a>.</li>
+
+<li>Kūfy, <a href="#Page_68">68</a> <em>n.</em></li>
+
+<li>Kurdy, El-, <a href="#Page_203">203</a>.</li>
+
+<li>Kursy, <a href="#Page_138">138</a>, <a href=
+"#Page_168">168</a>, <a href="#Page_226">226</a>.</li>
+
+<li>Kūsun, <a href="#Page_52">52</a>, <a href="#Page_65">65</a>,
+<a href="#Page_66">66</a>, <a href="#Page_134">134</a>, <a href=
+"#Page_136">136</a>.</li>
+
+<li>Kusūr-ez-Zāhira, El-, <a href="#Page_8">8</a>.</li>
+
+<li class="ifrst"><span class="sc">Lāgīn</span>, <a href=
+"#Page_14">14</a>, <a href="#Page_16">16</a> <em>n.</em>, <a href=
+"#Page_20">20</a>-4, <a href="#Page_64">64</a>, <a href=
+"#Page_130">130</a>-3.</li>
+
+<li>Līwān, <a href="#Page_57">57</a>.</li>
+
+<li>Lulu, <a href="#Page_207">207</a>.</li>
+
+<li class="ifrst"><span class="sc">Mak‘ad</span>, <a href=
+"#Page_80">80</a>.</li>
+
+<li>Malkaf, <a href="#Page_84">84</a>.</li>
+
+<li>Mamlūk, <a href="#Page_12">12</a> ff., <a href=
+"#Page_18">18</a> <em>n.</em>, <a href="#Page_189">189</a> ff.,
+<a href="#Page_223">223</a> ff.</li>
+
+<li>Mandara, <a href="#Page_80">80</a> ff.</li>
+
+<li>Mangutimūr, <a href="#Page_16">16</a> <em>n.</em>, <a href=
+"#Page_23">23</a>.</li>
+
+<li><span class="pagenum" id="Page_311">[311]</span>Mansūr ‘Aly,
+El-, <a href="#Page_20">20</a>.</li>
+
+<li>Mansūra, <a href="#Page_12">12</a>.</li>
+
+<li>Māridāny, El-, <a href="#Page_52">52</a>, <a href=
+"#Page_60">60</a>, <a href="#Page_64">64</a>, <a href=
+"#Page_66">66</a>, <a href="#Page_132">132</a>, <a href=
+"#Page_272">272</a>.</li>
+
+<li>Māristān, <a href="#Page_12">12</a>, <a href=
+"#Page_76">76</a>-8, <a href="#Page_142">142</a> ff.</li>
+
+<li>Masr-el-‘Atīka, <a href="#Page_9">9</a>.</li>
+
+<li>Mastaba, <a href="#Page_80">80</a>.</li>
+
+<li>Medina, <a href="#Page_49">49</a>.</li>
+
+<li>Meshrebīya, <a href="#Page_80">80</a> ff., <a href=
+"#Page_156">156</a> ff., <a href="#Page_266">266</a>.</li>
+
+<li>Meydā‘, <a href="#Page_70">70</a>.</li>
+
+<li>Meydān, <a href="#Page_6">6</a>.</li>
+
+<li>Mibkhara, <a href="#Page_62">62</a>.</li>
+
+<li>Mihrāb, <a href="#Page_58">58</a>, <a href=
+"#Page_70">70</a>.</li>
+
+<li>Mihtār, <a href="#Page_32">32</a>, <a href=
+"#Page_230">230</a>.</li>
+
+<li>Mimbar, <a href="#Page_58">58</a>, <a href="#Page_126">126</a>
+ff.</li>
+
+<li>Misr, <a href="#Page_4">4</a>, <a href=
+"#Page_250">250</a>.</li>
+
+<li>Mohammad: see <em>Nāsir</em>.</li>
+
+<li>Mohammad ibn El-Wāhid, <a href="#Page_301">301</a>.</li>
+
+<li>Mōsil (style), <a href="#Page_144">144</a> ff., <a href=
+"#Page_182">182</a> ff., <a href="#Page_204">204</a> ff.</li>
+
+<li>Mu‘allim, Beny, <a href="#Page_196">196</a> <em>n.</em></li>
+
+<li>Muayyad, El-, <a href="#Page_52">52</a>, <a href=
+"#Page_64">64</a>, <a href="#Page_66">66</a>, <a href=
+"#Page_68">68</a> <em>n.</em>, <a href="#Page_126">126</a>,
+<a href="#Page_136">136</a>, <a href="#Page_225">225</a>, <a href=
+"#Page_307">307</a>.</li>
+
+<li>Mubāshir, <a href="#Page_29">29</a>.</li>
+
+<li>Muhtesib, <a href="#Page_32">32</a>.</li>
+
+<li>Mu‘izz, El-, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>,
+<a href="#Page_194">194</a> <em>n.</em>, <a href=
+"#Page_284">284</a>.</li>
+
+<li>Mukaddam, <a href="#Page_30">30</a>.</li>
+
+<li>Mushidd, <a href="#Page_32">32</a>.</li>
+
+<li>Mustansir, El-, <a href="#Page_9">9</a>, <a href=
+"#Page_10">10</a>, <a href="#Page_121">121</a>, <a href=
+"#Page_193">193</a>, <a href="#Page_242">242</a>, <a href=
+"#Page_284">284</a>, <a href="#Page_286">286</a>.</li>
+
+<li class="ifrst"><span class="sc">Nāïb-es-Saltana</span>, <a href=
+"#Page_18">18</a>, <a href="#Page_20">20</a>, <a href=
+"#Page_29">29</a>.</li>
+
+<li>Nāsir Mohammad, En-, <a href="#Page_11">11</a>, <a href=
+"#Page_18">18</a>, <a href="#Page_34">34</a>, <a href=
+"#Page_52">52</a>, <a href="#Page_66">66</a>, <a href=
+"#Page_98">98</a>, <a href="#Page_149">149</a>, <a href=
+"#Page_192">192</a>, <a href="#Page_225">225</a> ff., <a href=
+"#Page_276">276</a>, <a href="#Page_304">304</a>.</li>
+
+<li>Naskhy, <a href="#Page_57">57</a> <em>n.</em></li>
+
+<li>Nāzūk, En-, <a href="#Page_196">196</a> <em>n.</em></li>
+
+<li>Nefīsa, Sitta, <a href="#Page_139">139</a>.</li>
+
+<li>Nūr-ed-dīn, <a href="#Page_148">148</a>.</li>
+
+<li class="ifrst"><span class="sc">Rakhwāny</span>, <a href=
+"#Page_32">32</a>.</li>
+
+<li>Ramla, <a href="#Page_121">121</a>-23.</li>
+
+<li>Ras Nauba, <a href="#Page_29">29</a>.</li>
+
+<li>Rashīda, <a href="#Page_9">9</a> <em>n.</em></li>
+
+<li>Rikāb-khānāh, <a href="#Page_32">32</a>.</li>
+
+<li>Rōda, <a href="#Page_12">12</a>.</li>
+
+<li>Rukeyya, Sitta, <a href="#Page_139">139</a> <em>n.</em></li>
+
+<li>Rūm, <a href="#Page_284">284</a>, <a href="#Page_286">286</a>
+ff.</li>
+
+<li class="ifrst"><span class="sc">Sāg</span>, <a href=
+"#Page_6">6</a>.</li>
+
+<li>Sahn-el-Gāmi‘, <a href="#Page_70">70</a>.</li>
+
+<li>Sāky, <a href="#Page_30">30</a>.</li>
+
+<li>Saladin, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>,
+<a href="#Page_16">16</a> <em>n.</em>, <a href="#Page_148">148</a>,
+<a href="#Page_149">149</a>, <a href="#Page_270">270</a>.</li>
+
+<li>Salār, <a href="#Page_270">270</a>, <a href=
+"#Page_290">290</a>.</li>
+
+<li>Sālih, Es-, <a href="#Page_12">12</a>, <a href=
+"#Page_13">13</a>, <a href="#Page_15">15</a>, <a href=
+"#Page_27">27</a>, <a href="#Page_139">139</a>.</li>
+
+<li>Sālih, Mohammad, <a href="#Page_176">176</a>, <a href=
+"#Page_177">177</a>.</li>
+
+<li>Saphadin, <a href="#Page_12">12</a>.</li>
+
+<li>Sātilmish, <a href="#Page_230">230</a>.</li>
+
+<li>Sebīl, <a href="#Page_87">87</a>, <a href=
+"#Page_108">108</a>.</li>
+
+<li>Selāhkhōry, <a href="#Page_30">30</a>.</li>
+
+<li>Selīm, <a href="#Page_3">3</a>.</li>
+
+<li>Semenhūd, <a href="#Page_274">274</a>.</li>
+
+<li>Shadd, <a href="#Page_32">32</a>.</li>
+
+<li>Shāfi‘y, Esh-, <a href="#Page_12">12</a>.</li>
+
+<li>Sha‘bān, <a href="#Page_306">306</a>.</li>
+
+<li>Sha‘bān, Umm-, <a href="#Page_176">176</a>.</li>
+
+<li>Sharabdār, <a href="#Page_32">32</a>.</li>
+
+<li>Sharab-khānāh, <a href="#Page_32">32</a>.</li>
+
+<li>Sheger-ed-durr, <a href="#Page_13">13</a>.</li>
+
+<li>Sheykhū, <a href="#Page_136">136</a>, <a href=
+"#Page_250">250</a>, <a href="#Page_258">258</a>, <a href=
+"#Page_272">272</a>.</li>
+
+<li>Shugā‘ ibn Hanfar, <a href="#Page_204">204</a>.</li>
+
+<li>Shugāy, <a href="#Page_18">18</a>.</li>
+
+<li>Sicily, <a href="#Page_10">10</a>, <a href="#Page_194">194</a>,
+<a href="#Page_282">282</a>, <a href="#Page_290">290</a>, <a href=
+"#Page_294">294</a>.</li>
+
+<li>Silāhdār, <a href="#Page_30">30</a>.</li>
+
+<li>Sūk-el-Keftīyīn, <a href="#Page_198">198</a>.</li>
+
+<li>Sūr (Tyre), <a href="#Page_249">249</a>.</li>
+
+<li>Suyūfy, <a href="#Page_60">60</a>.</li>
+
+<li>Syrian style, <a href="#Page_189">189</a>, <a href=
+"#Page_220">220</a> ff.</li>
+
+<li class="ifrst"><span class="sc">Tabardār</span>, <a href=
+"#Page_31">31</a>, <a href="#Page_33">33</a>.</li>
+
+<li>Tabl-khānāh, <a href="#Page_31">31</a>.</li>
+
+<li>Takhtabōsh, <a href="#Page_80">80</a>.</li>
+
+<li>Talāi‘ ibn Ruzeyk, <a href="#Page_98">98</a>, <a href=
+"#Page_134">134</a> <em>n.</em>, <a href="#Page_225">225</a>.</li>
+
+<li>Tebrīz, <a href="#Page_278">278</a>, <a href=
+"#Page_307">307</a>.</li>
+
+<li>Tinnīs, <a href="#Page_282">282</a>.</li>
+
+<li>Tirāz, <a href="#Page_289">289</a>.</li>
+
+<li>Tishtdār, <a href="#Page_32">32</a>.</li>
+
+<li>Tisht-khānāh, <a href="#Page_32">32</a>, <a href=
+"#Page_209">209</a>.</li>
+
+<li>Titles, Mamlūk, <a href="#Page_18">18</a> <em>n.</em></li>
+
+<li><span class="pagenum" id="Page_312">[312]</span>Tughān,
+<a href="#Page_279">279</a>.</li>
+
+<li>Tukuzdemir, <a href="#Page_259">259</a>, <a href=
+"#Page_270">270</a>, <a href="#Page_274">274</a>.</li>
+
+<li>Tūlūn, Ibn, <a href="#Page_3">3</a>, <a href="#Page_5">5</a>,
+<a href="#Page_6">6</a>, <a href="#Page_22">22</a>, <a href=
+"#Page_52">52</a>, <a href="#Page_53">53</a>-65, <a href=
+"#Page_95">95</a>, <a href="#Page_96">96</a>, <a href=
+"#Page_130">130</a>-32, <a href="#Page_154">154</a>, <a href=
+"#Page_270">270</a>.</li>
+
+<li>Turkish and Tartar names, <a href="#Page_14">14</a>
+<em>n.</em></li>
+
+<li>Tustar, <a href="#Page_284">284</a>.</li>
+
+<li class="ifrst"><span class="sc">Ujāky</span>, <a href=
+"#Page_29">29</a>.</li>
+
+<li>Ustāddār, <a href="#Page_29">29</a>, <a href="#Page_31">31</a>,
+<a href="#Page_294">294</a>.</li>
+
+<li class="ifrst"><span class="sc">Venice</span>, <a href=
+"#Page_202">202</a>, <a href="#Page_249">249</a>.</li>
+
+<li>Vizīr, <a href="#Page_18">18</a>, <a href=
+"#Page_29">29</a>.</li>
+
+<li class="ifrst"><span class="sc">Wāly</span>, <a href=
+"#Page_32">32</a>.</li>
+
+<li>Wekāla, <a href="#Page_87">87</a>, <a href=
+"#Page_101">101</a>-112.</li>
+
+<li class="ifrst"><span class="sc">Yelbugha</span>, <a href=
+"#Page_261">261</a>.</li>
+
+<li class="ifrst"><span class="sc">Zard-khānāh</span>, <a href=
+"#Page_30">30</a>.</li>
+
+<li>Zenky, Beny, <a href="#Page_148">148</a>, <a href=
+"#Page_181">181</a>, <a href="#Page_268">268</a>.</li>
+
+<li>Zeyn, Ibn-ez-, <a href="#Page_218">218</a>.</li>
+
+<li>Zimamdār, <a href="#Page_31">31</a>.</li>
+
+<li>Zuheyr, <a href="#Page_36">36</a>.</li>
+
+<li>Zunnāry, <a href="#Page_33">33</a>.</li>
+
+<li>Zuweyla, Bāb, <a href="#Page_19">19</a>.</li>
+</ul>
+
+<p class="space-above2">
+</p>
+
+<hr class="decor width20">
+
+<p class="center small">PRINTED BY J. S. VIRTUE AND CO., LIMITED,
+CITY ROAD, LONDON.</p>
+
+<p class="x-ebookmaker-drop space-above2">
+</p>
+
+<div class="footnotes">
+<h2>FOOTNOTES:</h2>
+
+<div class="footnote">
+<p><a id="Footnote_1"></a><a href="#FNanchor_1"><span class=
+"label">[1]</span></a>H. C. Kay, <em>Al-Kahirah and its Gates</em>.
+<em>Journ. R. Asiatic Society</em>, 1882.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_2"></a><a href="#FNanchor_2"><span class=
+"label">[2]</span></a><em>E.g.</em>, in <span class=
+"sc2">A.H.</span> 442 died Rashidah, daughter of the Khalif
+El-Mu‘izz, leaving an inheritance valued at 2,700,000 dīnars; in
+her house were 12,000 robes of different colours. All the Khalifs
+since El-Mu‘izz had impatiently expected her death. In the same
+year her sister ‘Abda also died and left an immense fortune. Forty
+pounds of wax were needed to put seals on her rooms and coffer.
+Among her treasures were 3000 vases of silver, enamelled and
+chased; 400 swords, damascened in gold; 30,000 pieces of Sicilian
+stuff; quantities of emeralds, rubies, and other precious stones;
+90 basins and 90 ewers of purest crystal, &amp;c. (El-Makrīzy.)</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_3"></a><a href="#FNanchor_3"><span class=
+"label">[3]</span></a>Among the principal Mamlūk nobles of the
+thirteenth and fourteenth centuries the following names most
+frequently occur; they are Turkish or Tartar, and Mr. J. W.
+Redhouse, C.M.G., has kindly given me their significations:
+Beybars, and Bars Bey, Prince Panther; Altunbugha, Gold (yellow)
+Bull; Ketbughā, Lucky Bull; Kurt, Wolf; Tunkuz, Boar; Aktai, White
+Colt; Karakush, Black bird of prey, Eagle; Tughan, Falcon; Sunkur
+Ashkar, Bay Falcon; Aksunkur, Jerfalcon; Karasunkur, Black Falcon;
+Lāgīn, Perigrine Hawk; Balban, Goshawk; Singar, Bird of prey;
+Kalaun, Duck. The preceding names are derived from animals and
+birds of prey, and it is probable that corresponding images were
+blazoned on their owners’ shields. Names connected with the moon
+are common: <em>e.g.</em> Tūlūn, Setting Moon; Aybek, Moon Prince;
+Aydaghdy, The Moon has risen; Aytekīn, Moon-touching, tall; others
+relate to steel, as Janbalāt, Whose soul is steel; Aydemir,
+Battle-axe; Erdemir, Male Iron (tempered steel); Bektemir, Prince
+Iron; Esendemir, Sound Iron; Tukuzdemir, Pig-iron (?). Others refer
+to some personal characteristic, as Beysary, Prince Auburn; Salār,
+The Attacker; Karamūn, Black Man; Aghirlu, Sedate; Bektūt, Prince
+Mulberry; Kagkar and Kagkīn, Fleet in running; Kurgy means
+Armour-bearer; Takgi, Mountaineer; Suyurghatmish, A present; Ezbek,
+True Prince; Bektāsh, Prince-peer; Satilmish, Who was sold.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_4"></a><a href="#FNanchor_4"><span class=
+"label">[4]</span></a>Beybars, following the example of Saladin,
+organized a feudal system by granting lands to the chief lords of
+his court in return for service in the field, and his arrangement
+appears to have lasted until the time of Lāgīn, when we find the
+whole land of Egypt was divided into twenty-four kīrāts, of which
+four belonged to the Sultan, ten to the Amīrs and the holders of
+royal grants, and ten to the soldiers of the guard. Lāgīn made a
+fresh survey and reconstructed the feofs: ten kīrāts were allotted
+to the Amīrs and guard together, one was reserved for compensating
+the dissatisfied, four as before belonged to the Sultan, and the
+remaining nine were assigned to the cost of levying a new body of
+troops. We learn that the Sultan’s sixth part comprised Boheyra,
+Atfih, Alexandria, Damietta, Manfalūt, with their villages, and Kōm
+Ahmar. The feof of Mangūtimūr, the viceroy, included Semhoud, Edfū,
+Kūs, and others, and brought in a revenue of more than 100,000
+ardebbs (each of five bushels) of grain, without reckoning
+money-payments, sugar-candy (for which there were seventeen
+factories), fruits, cattle, and wood. The only lands excepted from
+this general distribution among the Amīrs and soldiers were the
+pious foundations, heritages, and the like. Lāgīn considerably
+reduced the value of the individual feofs, which had previously
+been worth, at the time of Kalaūn, at least 10,000 francs a
+year.—El-Makrīzy (Quatremère), II. ii. 65 ff.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_5"></a><a href="#FNanchor_5"><span class=
+"label">[5]</span></a>It will be useful here to explain the system
+of Mamlūk names and titles. Every Mamlūk had (1) a proper name,
+such as Ketbugha, Lāgīn, Beybars, Kalaūn, generally of Tartar
+derivation; (2) a surname or honourable epithet, as Husām-ed-dīn,
+“Sword-blade of the Faith,” Nūr-ed-dīn, “Light of the Faith,”
+Nāsir-ed-dīn, “Succourer of the Faith;” (3) generally a
+pseudo-patronymic, as Abu-l-Feth, “Father of Victory,” Abu-n-Nasr,
+“Father of Succour;” (4) if a Sultan, an epithet affixed to the
+title of Sultan or King, as El-Melik Es-Sa‘īd, “The Fortunate
+King,” El-Melik En-Nāsir, “The Succouring King,” El-Melik
+El-Mansūr, “The Victorious King;” (5) a title of possession,
+implying, by its relative termination <em>y</em> or <em>ī</em>,
+that the subject has been owned as a slave (or has been employed as
+an officer or retainer) by some Sultan or Lord, as El-Ashrafy, “The
+Slave or Mamlūk of the Sultan El-Ashraf,” El-Mansūry, “The Mamlūk
+of the Sultan El-Mansūr.” The order of these titles was as follows:
+first the royal title, then the honourable surname, third the
+patronymic, fourth the proper name, and last the possessive: as
+Es-Sultān El-Melik El-Mansūr Husām-ed-dīn Abu-l-Feth Lāgīn
+El-Mansūry, “The Sultan, Victorious King, Sword-blade of the Faith,
+Father of Victory, Lāgīn, Mamlūk of the Sultan El-Mansūr.” It is
+usual, in abbreviating these numerous names, to style a Sultan by
+his title, El-Mansūr, &amp;c., or by his proper name, Lāgīn,
+&amp;c., omitting the rest, while a Noble (Amīr) is conveniently
+denoted by his proper name alone. It may be added that the word
+<em>ibn</em>, of frequent occurrence in these pages, means “son;”
+as, Ahmad ibn Tūlūn, “Son of Tūlūn.”</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_6"></a><a href="#FNanchor_6"><span class=
+"label">[6]</span></a>The greater part of the translation above is
+Col. Yule’s (<em>Marco Polo</em>, i. 25): the Arabic text and
+French version are given by Quatremère, in El-Makrīzy’s
+<em>Histoire des Sultans Mamlouks</em>, I. ii. 190-194.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_7"></a><a href="#FNanchor_7"><span class=
+"label">[7]</span></a>Col. H. Yule, <em>Marco Polo</em>, i. 24.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_8"></a><a href="#FNanchor_8"><span class=
+"label">[8]</span></a>The Sultan never forgot that he had risen
+from the ranks of the Mamlūks, and was accustomed to address his
+late comrades in brotherly style. “The Mamlūk” was a common title
+much esteemed by the Sultan and retained in the days of his
+greatest power.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_9"></a><a href="#FNanchor_9"><span class=
+"label">[9]</span></a>Joinville describes the Sultan Beybars’ camp
+at Damietta: It was entered through a tower of fir-poles covered
+round with coloured stuff, and inside was the tent where the lords
+left their weapons when they sought audience of the Sultan. “Behind
+this tent there was a doorway similar to the first, by which you
+entered a large tent, which was the Sultan’s hall. Behind the hall
+there was a tower like the one in front, through which you entered
+the Sultan’s chamber. Behind the Sultan’s chamber there was an
+enclosed space, and in the centre of this enclosure a tower,
+loftier than all the others, from which the Sultan looked out over
+the whole camp and country. From the enclosure a pathway went down
+to the river, to the spot where the Sultan had spread a tent over
+the water for the purpose of bathing. The whole of this encampment
+was enclosed within a trellis of wood-work, and on the outer side
+the trellises were spread with blue calico (?) . . . and the four
+towers were also covered with calico.” Hutton’s trans. p. 94.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_10"></a><a href="#FNanchor_10"><span class=
+"label">[10]</span></a>Nāsir i-Khusrau (eleventh century) says that
+50,000 donkeys were on hire at Cairo in his time. They stood at
+street-corners, with gay saddles, and everybody rode them.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_11"></a><a href="#FNanchor_11"><span class=
+"label">[11]</span></a>Admirably translated by the late Prof. E. H.
+Palmer. (Cambridge, 1877.)</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_12"></a><a href="#FNanchor_12"><span class=
+"label">[12]</span></a>It is worth remarking that the almost
+contemporary Nilometer was built by an architect from Ferghāna.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_13"></a><a href="#FNanchor_13"><span class=
+"label">[13]</span></a>By gold piece I mean a <em>dīnār</em>, a
+coin about the size of a half-sovereign, which then weighed 63
+grains on the average, and was of nearly pure gold.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_14"></a><a href="#FNanchor_14"><span class=
+"label">[14]</span></a>As is well known, the prayers of Mohammadans
+are said with the face directed towards Mekka, which at Cairo means
+south-east. The older mosques are more correctly placed in the
+proper direction than the later. In referring to the Mekka side of
+a mosque the term “east end” will be used, as it conveys a more
+familiar idea to Europeans than south-east.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_15"></a><a href="#FNanchor_15"><span class=
+"label">[15]</span></a>Kūfy is a form of Arabic writing, older in
+its general application than the ordinary cursive hand, which is
+termed Naskhy, though the latter existed contemporaneously with the
+Kūfy in the first century of the Hijra. Kūfy is a stiff rectangular
+monumental script, whilst Naskhy is rounded and flowing. An example
+of the former may be seen in <a href="#i009">fig. 9,</a> and of the
+latter in <a href="#i010">fig. 10.</a> The oldest Kūfy is more
+rectangular than the later, which allows various curves and tails
+which were not used in the earliest form of the character.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_16"></a><a href="#FNanchor_16"><span class=
+"label">[16]</span></a>The bricks, according to Mr. Wild’s
+measurements, are small and flat, about 7½ inches long, by 2½
+inches wide, and 1¾ inches thick; the joints of mortar are very
+thick, generally about an inch. Wooden beams are introduced here
+and there to tie the brickwork together, especially at the spring
+of the arches.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_17"></a><a href="#FNanchor_17"><span class=
+"label">[17]</span></a>El-Māridāny’s mosque is well illustrated in
+Ebers’ <em>Egypt</em>, ii. 70; and the minaret is separately
+engraved in i. 61. It is converted from the square into an octagon
+very near the base, and thence at the first stalactite gallery into
+the round; above the second gallery (there are but two) is a stone
+neck or pinnacle, twelve courses high supporting a conical
+bulb-like crown.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_18"></a><a href="#FNanchor_18"><span class=
+"label">[18]</span></a>See the plates in Bourgoin’s <em>Les Arts
+Arabes</em>, and Owen Jones’ <em>Grammar of Ornament</em>. And for
+Kūsūn’s grilles, see Prisse d’Avennes, pl. 46.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_19"></a><a href="#FNanchor_19"><span class=
+"label">[19]</span></a>These were put up in 1422. The original
+platform and steps had been destroyed, together with the galleries
+of the minarets, by Barkūk, in 1391, in order to prevent the
+military factions using the lofty position afforded by the mosque
+as a battery upon the Citadel opposite. Guns have been frequently
+engaged between the Citadel and the mosque; and some of Napoleon’s
+shot can still be seen embedded in the wall. The original bronze
+door and lantern were also removed during the period of interdict
+referred to, and were bought by the Sultan El-Muayyad for his own
+mosque.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_20"></a><a href="#FNanchor_20"><span class=
+"label">[20]</span></a>Fair views of Sultan Hasan’s mosque,
+exterior, portal, and interior, may be seen in Coste,
+<em>Architecture Arabe</em>, pl. 21-6; Ebers’ <em>Egypt</em>, i.
+238, 262, 268; and my supplement to <em>Picturesque Palestine,
+Sinai, and Egypt</em>, entitled <em>Social Life in Egypt</em>,
+95.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_21"></a><a href="#FNanchor_21"><span class=
+"label">[21]</span></a>This direction or point of the compass is
+called the <em>kibla</em>, and the common application of this term
+to the niche itself is an error.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_22"></a><a href="#FNanchor_22"><span class=
+"label">[22]</span></a>It is worth noticing that the courses of
+stone in a mosque or house are always 13 or 14 inches high, and are
+hardly ever subdivided. The windows, doors, and ornament are
+therefore regulated by the courses, and are four or six courses, or
+whatever the number, and not four-and-a-half, &amp;c. It is thus
+easy to calculate the height of a building of stone by counting its
+courses.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_23"></a><a href="#FNanchor_23"><span class=
+"label">[23]</span></a>For illustrations of Kalaūn’s Māristān and
+mausoleum, see my <em>Social Life in Egypt</em>, 91; Ebers’
+<em>Egypt</em>, i. 247-50. Both these works contain several large
+engravings of mosque interiors, which should be studied in
+connection with this chapter.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_24"></a><a href="#FNanchor_24"><span class=
+"label">[24]</span></a>These various details of the Cairo room will
+be more fully described under their respective headings.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_25"></a><a href="#FNanchor_25"><span class=
+"label">[25]</span></a>Some mandaras, however, have two daïses,
+like the Kā‘a.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_26"></a><a href="#FNanchor_26"><span class=
+"label">[26]</span></a>R. S. Poole, in a lecture delivered before
+the Royal Academy, and summarised in the <em>Builder</em> of 14th
+February, 1885.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_27"></a><a href="#FNanchor_27"><span class=
+"label">[27]</span></a>Nāsir-i-Khusrau, <em>Sefer Nameh</em>, ed.
+C. Schefer, 133.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_28"></a><a href="#FNanchor_28"><span class=
+"label">[28]</span></a>For illustrations of the chief mosques and
+other buildings of Cairo, consult (besides Coste and Prisse
+d’Avennes) Ebers’ <em>Egypt</em>, where there are some admirable
+interiors of houses after Mr. Frank Dillon’s pictures, besides good
+views of various portions of the mosques of El-Māridāny (i., 202,
+ii., 70), the Māristān, &amp;c. (i., 247, 249, 250), Sultan Hasan
+(i., 238, 262, 268), El-Muayyad (i., 273, 274), Ezbek (i., 281),
+Kāït Bey (i., 284), and El-Ghōry (i., 286). My Egyptian chapters in
+<em>Picturesque Palestine, Sinai, and Egypt</em>, vol. iv., contain
+some fine woodcuts of El-Ashraf Bars Bey (142), Sultan Hasan (143),
+Barkūk (145), Kāït Bey (148), and others, with useful street views;
+and in the supplementary volume, <em>Social Life in Egypt</em>, are
+illustrations of El-Hākim’s minarets (90), Kalaūn’s mausoleum (91),
+Sultan Hasan (95), and Kāït Bey (99-101), besides many objects of
+Saracenic Art from the Cairo museum.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_29"></a><a href="#FNanchor_29"><span class=
+"label">[29]</span></a>Franz Pasha, in his admirable essay prefixed
+to Baedeker’s “Lower Egypt.”</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_30"></a><a href="#FNanchor_30"><span class=
+"label">[30]</span></a>E. Stanley Poole, in an essay on Arabian
+architecture appended to Lane’s <em>Modern Egyptians</em>, 5th ed.
+This sketch of my Father’s was the first serious attempt to deal
+with the problems of the origin and development of Saracenic art in
+Cairo.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_31"></a><a href="#FNanchor_31"><span class=
+"label">[31]</span></a>Compare the illustrations on pp. 306 and 307
+(vol. i.) of Perrot and Chipiez, <em>The History of Art in Chaldaea
+and Assyria</em>. The knop and flower pattern is there seen
+combined with rosettes closely resembling those of Ibn-Tūlūn. See
+also Mr. Wild’s drawings of the decoration of Ibn-Tūlūn in the
+<em>Grammar of Ornament</em>.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_32"></a><a href="#FNanchor_32"><span class=
+"label">[32]</span></a>There are also some remains of tenth century
+Fātimy work in the mosque of Talāi‘ ibn Ruzeyk; but most of the
+ornament belongs to the restoration by Bektemir in the fourteenth
+century.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_33"></a><a href="#FNanchor_33"><span class=
+"label">[33]</span></a>M. Bourgoin has made an exhaustive study of
+the geometrical ornament of the Saracens in his <em>Eléments de
+l’Art Arabe</em>.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_34"></a><a href="#FNanchor_34"><span class=
+"label">[34]</span></a>This gateway is illustrated by Coste,
+<em>Architecture Arabe</em>; but the details are a little
+imaginative.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_35"></a><a href="#FNanchor_35"><span class=
+"label">[35]</span></a>A plaster cast of this column is in the
+South Kensington Museum.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_36"></a><a href="#FNanchor_36"><span class=
+"label">[36]</span></a>The origin of the pendentive may be traced
+in the rude brick-work, projecting course above course, in the
+corners of the Kertsch tumulus, of which an illustration is given
+in Lane’s <em>Modern Egyptians</em>, Appendix F, 587.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_37"></a><a href="#FNanchor_37"><span class=
+"label">[37]</span></a>E. Stanley Poole, in Lane’s <em>Modern
+Egyptians</em>, 5th ed., pp. 586-588.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_38"></a><a href="#FNanchor_38"><span class=
+"label">[38]</span></a>A. J. Butler, <em>Coptic Churches</em>, vol.
+i., pp. 37, 38. That the Egyptian mosaic-work was derived from the
+art of the Lower Empire is supported by the circumstance that the
+common Arabic name for a tessera of mosaic is <em>fuseyfisā</em>,
+which is of course the Greek ψῆφος. The term <em>faṣṣ</em> is also
+employed in the same sense, and <em>mufaṣṣaṣ</em> means “inlaid
+with squares of marble,” or “covered with mosaic.” The Greek
+emperor furnished the Khalīf El-Welīd with mosaics and workmen for
+his mosque at Jerusalem.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_39"></a><a href="#FNanchor_39"><span class=
+"label">[39]</span></a>An engraving of a mosaic floor, surrounding
+a fountain of the simpler kind usual in good Cairene houses, may be
+seen in Lane’s <em>Modern Egyptians</em>, pp. 12, 13, 5th ed.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_40"></a><a href="#FNanchor_40"><span class=
+"label">[40]</span></a><em>Sefer Nameh</em>, ed. Ch. Schefer, p.
+65.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_41"></a><a href="#FNanchor_41"><span class=
+"label">[41]</span></a>The wood commonly used for lattice windows
+is the pitch pine, which is imported from Asia Minor in lengths of
+about twenty feet.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_42"></a><a href="#FNanchor_42"><span class=
+"label">[42]</span></a>The same shape is seen in the plaques of the
+bronze door of the mosque of Talāi‘ ibn Ruzeyk, as restored by
+Bektemir in the 14th century: see Prisse, ii., pl. 95. Some
+portions of the original mosque of Talāi‘ are still standing.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_43"></a><a href="#FNanchor_43"><span class=
+"label">[43]</span></a>A very similar style of work is seen in the
+carved wooden niche from the mausoleum of Sitta Rukeyya, which may
+belong to a time very nearly contemporary with Es-Sālih Ayyūb. This
+niche is now in the Arab Museum at Cairo, and a photograph of it
+may be seen in the portfolio of objects in the <em>Musée
+Arabe</em>, of which a copy is in the Art Library at South
+Kensington.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_44"></a><a href="#FNanchor_44"><span class=
+"label">[44]</span></a>E. T. Rogers Bey: <em>Rapport sur le lieu de
+sépulture des Khalifs Abbassides</em>, &amp;c. (Com. Conserv. Mon.
+de l’Art Arabe).</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_45"></a><a href="#FNanchor_45"><span class=
+"label">[45]</span></a>It may, however, be the crest of Karākūsh,
+the eunuch, who was commissioned by Saladin to build the Citadel.
+Karākūsh means “black bird of prey.”</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_46"></a><a href="#FNanchor_46"><span class=
+"label">[46]</span></a><em>The Ancient Coptic Churches of
+Egypt</em>, ii. 66, 67.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_47"></a><a href="#FNanchor_47"><span class=
+"label">[47]</span></a><em>The Ancient Coptic Churches of
+Egypt</em>, vol. i., pp. 86, 87.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_48"></a><a href="#FNanchor_48"><span class=
+"label">[48]</span></a><em>The Ancient Coptic Churches of
+Egypt</em>, vol. i., p. 212.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_49"></a><a href="#FNanchor_49"><span class=
+"label">[49]</span></a>A. de Longpérier, <em>Œuvres</em>, i., 71,
+254.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_50"></a><a href="#FNanchor_50"><span class=
+"label">[50]</span></a>Compare what has been said above, <a href=
+"#Page_126">pp. 126 ff.</a></p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_51"></a><a href="#FNanchor_51"><span class=
+"label">[51]</span></a>S. Lane-Poole, <em>Catalogue of Oriental
+Coins in the British Museum</em>, vol. iii.; <em>International
+Numismata Orientalia</em>, vol. i., pt. 2.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_52"></a><a href="#FNanchor_52"><span class=
+"label">[52]</span></a>Mesopotamia and the adjacent districts have
+been famous from remote antiquity for copper mines, and in the
+present day near Māridīn is a kiln where the copper is refined
+which is extracted from the mine of Argana Ma‘din; and copper
+vessels are still made at Tōkāt, and exported to Syria and
+Egypt.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_53"></a><a href="#FNanchor_53"><span class=
+"label">[53]</span></a>In the Arsacid relief of Takhti-Bostan, the
+king hunts from a boat, exactly as on this bowl.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_54"></a><a href="#FNanchor_54"><span class=
+"label">[54]</span></a>A. de Longpérier, <em>Œuvres</em>, i.
+390.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_55"></a><a href="#FNanchor_55"><span class=
+"label">[55]</span></a>This inlaying, or rather the precious metal
+thus inlaid, is termed in Arabic <em>keft</em> <span class=
+"arabic">كَفْت</span>. <span class="arabic">كفّت</span> (2nd conj.)
+means to plate or cover with a leaf of metal. We read in El-Makrīzy
+of <span class="arabic">نحاس مكفت بالذهب والفضة</span>, “Copper,
+plated with gold and silver;” <span class="arabic">نحاس اصفر مكفت
+بالفضة</span>, “Brass, plated with silver;” and elsewhere of
+<span class="arabic">فولاد مكفت بالذهب</span>, “Steel, plated with
+gold;” and saddles, bridles, and precious stones, <span class=
+"arabic">مكفت</span>, “plated” with, or set in, gold and silver.
+<span class="arabic">الطعيم</span> (from <span class=
+"arabic">طعّم</span>) means “incrustation,” “inlaying;” and
+<span class="arabic">مطعّم</span> practically the same as
+<span class="arabic">مكفت</span>, only it does not necessarily
+imply metal-plates. El-Makrīzy writes—<span class="arabic">الكفت هو
+ما تطعم به اوانى النحاس من الذهب والفضة</span>, which shows that
+<span class="arabic">مطعّم</span> is applied to inlaid metal-work
+as well as <span class="arabic">مكفت</span>. But it is also used
+for inlaid ivory and wood: <em>e.g.</em> <span class="arabic">خشب
+مطعّم بالعاج والابنوس</span>, “Wood, inlaid with ivory and ebony,”
+<span class="arabic">صنع تابوتا من ابنوس مطعّم بالصدف</span>, “He
+made a box of ebony inlaid with mother-of-pearl.” See El-Makrīzy,
+<em>Hist. des Mamlouks</em>, (Quatremère,) ii. i. 114,
+<em>note</em>.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_56"></a><a href="#FNanchor_56"><span class=
+"label">[56]</span></a><em>Gazette des Beaux-Arts</em>, xii.
+64-74.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_57"></a><a href="#FNanchor_57"><span class=
+"label">[57]</span></a>With regard to these distinctions, I must
+say that the first, which is real Damascening, is the only method
+employed on early Saracenic work, and it is used alike for large
+surfaces and small; but <em>not</em> for mere threads, which are, I
+believe, generally fixed by the punched mode described above.
+Raised walls, mentioned in M. Lavoix’s second method, are not known
+to early Saracenic art, and certainly do not apply to Damascus
+work: they only came in when the Venetian style of cutting away the
+whole surface except the pattern became the vogue. The third method
+is the late and bad one.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_58"></a><a href="#FNanchor_58"><span class=
+"label">[58]</span></a><em>Souvenirs d’un Voyage en Perse</em>,
+1867, pp. 236-9.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_59"></a><a href="#FNanchor_59"><span class=
+"label">[59]</span></a>“I have seen,” says Nāsir-i-Khusrau, in the
+11th century, “copper bowls of Damascus containing each 30 menn of
+water; they shine like gold. They tell me that a woman owns 5000 of
+them, and lets them out daily for a dirhem a month.”</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_60"></a><a href="#FNanchor_60"><span class=
+"label">[60]</span></a>El-Makrīzy, <em>Mamlouks</em>, ii. 246.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_61"></a><a href="#FNanchor_61"><span class=
+"label">[61]</span></a><em>Sefer Nameh</em>, 158.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_62"></a><a href="#FNanchor_62"><span class=
+"label">[62]</span></a><em>Sefer Nameh</em>, 149; El-Makrīzy,
+<em>Mamlouks</em>, ii. 250.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_63"></a><a href="#FNanchor_63"><span class=
+"label">[63]</span></a>A. de Longpérier, <em>Œuvres</em>, i.
+453-5.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_64"></a><a href="#FNanchor_64"><span class=
+"label">[64]</span></a>We know that Basra painters were brought to
+Egypt in Fātimy times. El-Makrīzy tells us that the “Mosque of the
+Karāfa,” erected by Taghrīd Darzān, the wife of El-Mu‘izz, was
+built by a Persian architect, El-Hasan El-Fārisy, and resembled the
+Azhar. Its chief gate was cased with iron, and fourteen square
+brick gates led into the sanctuary: before each of them was an arch
+resting on two marble columns, in three parts, blue, red, and
+green, and other colours. The ceilings were decorated in various
+colours <em>by workmen from Basra</em>, and the Beny Mu‘allim, the
+masters of El-Kettamy and En-Nāzūk. Opposite the seventh doorway
+was an arch on the two sides whereof were painted fountains with
+steps, which looked real. Painters used to come to see it, but
+could not imitate it. Two rival painters, El-Kasīr and Ibn-‘Azīz
+(of ‘Irāk), were pitted one against the other by the Vizir
+El-Yāzūry; the first painted a picture of a dancing-girl in white
+robes on a black blind arch, as though she were inside it, and the
+second a similar girl in crimson robes on a yellow ground, as
+though she were standing out of the arch.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_65"></a><a href="#FNanchor_65"><span class=
+"label">[65]</span></a><em>Khitat</em> (Būlāk ed.), ii. 105.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_66"></a><a href="#FNanchor_66"><span class=
+"label">[66]</span></a>When El-Makrīzy speaks of white and yellow
+copper, he means of course brass or bronze. The greater number of
+the inlaid objects I have seen are of brass, and not of copper;
+though of course the word <em>En-Nahās</em> may be taken to include
+“yellow copper” (or brass) as well as pure red copper. In the South
+Kensington collection, which has had the advantage of the chemical
+tests of Dr. Hodgkinson (F.R.S.E., Professor at the Royal Military
+Academy, Woolwich, and of the Royal College of Chemistry), there
+are 20 brass objects to 8 of bronze, while what copper there is has
+a coating of an alloy of lead and antimony, which gives a grey
+appearance to the bowls thus treated. Some of the bronzes are zinc
+bronzes, <em>i.e.</em> contain zinc as well as tin, but as a rule
+they contain a large proportion of tin.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_67"></a><a href="#FNanchor_67"><span class=
+"label">[67]</span></a>There is no “market of the inlayers” in
+Cairo now; but workmen may still be found who can inlay copper with
+silver after a somewhat rude fashion, using a simple graver, and
+beating silver wire into the excavated design.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_68"></a><a href="#FNanchor_68"><span class=
+"label">[68]</span></a>See M. Lavoix, <em>Les Azziministes</em>,
+<em>ubi supr.</em>, for these and other indications.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_69"></a><a href="#FNanchor_69"><span class=
+"label">[69]</span></a>El-Makrīzy, <em>Hist. des Mamlouks</em>,
+Quatremère, II. i. 115, <em>n.</em></p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_70"></a><a href="#FNanchor_70"><span class=
+"label">[70]</span></a>The relative termination, <em>y</em>,
+affixed to a name, though originally implying the relation of slave
+to master (as <em>El-Ashrafy</em>, the Mamlūk of El-Ashraf), came
+to signify also the mere relation of a retainer, liegeman, or even
+courtier, without the notion of ownership. Beysary was called
+El-Ashrafy, as one of the courtiers of El-Ashraf Khalīl, the
+Sultan’s “man;” but he was not his slave.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_71"></a><a href="#FNanchor_71"><span class=
+"label">[71]</span></a>El-Makrīzy, l. c. II. ii. 135
+<em>n.</em></p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_72"></a><a href="#FNanchor_72"><span class=
+"label">[72]</span></a>It has been fully described by M. de
+Longpérier, in the <em>Revue Archéologique</em> (N. S. vii. 306-9),
+and the article reappears in the first volume of his
+<em>Œuvres</em> (pp. 460-6).</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_73"></a><a href="#FNanchor_73"><span class=
+"label">[73]</span></a>Ibn Batūta (i. 75) tells us that the
+monastery attached to the mosque where Huseyn’s head was buried at
+Cairo had doors plated with silver, and silver rings. En-Nāsir
+Mohammad, in 733, furnished a door for the Ka‘ba at Mekka, which
+was made of ebony, covered with silver plates of great weight.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_74"></a><a href="#FNanchor_74"><span class=
+"label">[74]</span></a>An engraving of the top of the table,
+showing the Arabic inscriptions in Kūfy and Naskhy, and the
+ornament of ducks, &amp;c., may be seen in my <em>Social Life in
+Egypt</em>, p. 35.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_75"></a><a href="#FNanchor_75"><span class=
+"label">[75]</span></a>A. Nesbitt, <em>Descriptive Catalogue of the
+Glass Vessels in the South Kensington Museum</em>, lxiv.,
+&amp;c.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_76"></a><a href="#FNanchor_76"><span class=
+"label">[76]</span></a>A. Nesbitt, <em>Descriptive Catalogue of the
+Glass Vessels in the South Kensington Museum</em>, lxiv.,
+&amp;c.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_77"></a><a href="#FNanchor_77"><span class=
+"label">[77]</span></a>They were called <em>Kandīl Kalaūny</em>,
+“Kalaūn’s lamp.”</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_78"></a><a href="#FNanchor_78"><span class=
+"label">[78]</span></a><em>Sefer Nameh</em>, ed. C. Schefer,
+152.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_79"></a><a href="#FNanchor_79"><span class=
+"label">[79]</span></a>An engraving of one of them was published in
+the <em>Art Journal</em>, and afterwards in my <em>Social Life in
+Egypt</em>, 98.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_80"></a><a href="#FNanchor_80"><span class=
+"label">[80]</span></a>The descriptions of this and the two
+following lamps are taken partly from Mr. Nesbitt’s <em>Catalogue
+of Glass in the South Kensington Museum</em>, to which I
+contributed the interpretation of the Arabic inscriptions. I have,
+however, after an interval of ten years, made a second examination
+of the lamps, which has resulted in some important corrections of
+my earlier readings of the inscriptions, and I have also amplified
+Mr. Nesbitt’s descriptions.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_81"></a><a href="#FNanchor_81"><span class=
+"label">[81]</span></a>The badges on the Gate of Cairo, called the
+“Bāb-en-Nasr,” may, perhaps, be the arms of the builder, El-Gemāly,
+and, if so, the use of armorial bearings in Egypt in the eleventh
+century is proved. They consist of a circular shield sculptured
+with a sixfoil ornament, and crossed behind by a straight sword;
+and of a pear-shaped shield with four studs or bosses and a
+serrated edge.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_82"></a><a href="#FNanchor_82"><span class=
+"label">[82]</span></a>See the engravings in Lane’s <em>Modern
+Egyptians</em>.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_83"></a><a href="#FNanchor_83"><span class=
+"label">[83]</span></a><em>Sefer Nameh</em>, ed. C. Schefer.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_84"></a><a href="#FNanchor_84"><span class=
+"label">[84]</span></a>See Col. Yule’s admirable translation of
+Marco Polo. “At Baudas [Baghdād] they weave many different kinds of
+silk stuffs and gold brocades . . . wrought with figures of beasts
+and birds.”—i. 67.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_85"></a><a href="#FNanchor_85"><span class=
+"label">[85]</span></a><em>Note sur un drap d’or arabe que possède
+le Musée Industriel de Lyon: lue à l’Académie de Lyon, 30 Mai</em>,
+1882, par M. Pariset.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_86"></a><a href="#FNanchor_86"><span class=
+"label">[86]</span></a>The gold leaf was attached to the paper or
+skin by gelatine, and then cut and rolled round the thread. The
+early Italian weavers imported this peculiar Saracenic gold thread:
+hence the <em>mysterium auri filati</em> of the chroniclers. See
+the interesting account of gold tissue in Fischbach, <em>Geschichte
+der Textil-Kunst</em>, 76, ff.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_87"></a><a href="#FNanchor_87"><span class=
+"label">[87]</span></a>For other notices, see Col. Yule’s notes in
+his translation of Marco Polo, i. 67, 68, &amp;c.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_88"></a><a href="#FNanchor_88"><span class=
+"label">[88]</span></a>Col. Yule, i. 45-6.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_89"></a><a href="#FNanchor_89"><span class=
+"label">[89]</span></a>J. B. Giraud, <em>Les Origines de la Soie,
+son Histoire chez des Peuples de l’Orient</em>, p. 60.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_90"></a><a href="#FNanchor_90"><span class=
+"label">[90]</span></a>F. Michel, <em>Recherches sur le Commerce et
+la Fabrication des Etoffes de soie, d’or et d’argent</em>, ii.
+133.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_91"></a><a href="#FNanchor_91"><span class=
+"label">[91]</span></a>Mr. Fischbach almost admits as much himself,
+when he occasionally notes his hesitation in ascribing a Saracenic
+stuff to an Eastern loom or to Sarrasinas at Lucca; and some of his
+“Saracenic” examples are even vaguely attributed to “Asia Minor or
+Greece.” He has enjoyed the scholarly assistance of Prof.
+Karabacek, who has made considerable use of Col. Yule’s and Sir
+George Birdwood’s discoveries, and added the results of his own
+researches. The attribution of no. 13 to Ibrāhīm of Dehlī, however,
+is not warranted by the Arabic inscription in the lithograph, which
+does not show the name of that Sultan. 88a, again, which “cannot be
+read,” shows the name ‘Abd-Allah clearly. Fischbach’s
+<em>Geschichte der Textil-Kunst</em> contains Prof. Karabacek’s
+information, but the Saracenic divisions are unhappily full of
+misprints, which detract from the scholarly aspect.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_92"></a><a href="#FNanchor_92"><span class=
+"label">[92]</span></a>The curious figures in certain MSS. of
+El-Harīry’s Makamāt are quite exceptional, and probably the work of
+Christians.</p>
+</div>
+
+<div class="footnote">
+<p><a id="Footnote_93"></a><a href="#FNanchor_93"><span class=
+"label">[93]</span></a>Baedeker’s <em>Lower Egypt</em>, 268.</p>
+</div>
+</div>
+
+<p class="x-ebookmaker-drop space-above2">
+</p>
+
+<div class="transnote">
+<h2>Transcriber's note:</h2>
+
+<ul>
+<li>pg <a href="#Page_34">34</a>, footnote <a href=
+"#Footnote_9">9</a>, Changed: "were sprea with blue calico" to:
+"spread"</li>
+
+<li>pg <a href="#Page_105">105</a>, Changed: "eighth by a spendid
+arched gateway" to: "splendid"</li>
+
+<li>pg <a href="#Page_121">121</a>, footnote <a href=
+"#Footnote_39">39</a>, Changed: "may be seen in Lane’s <em>Modern
+Egyytians</em>" to: "<em>Egyptians</em>"</li>
+
+<li>pg <a href="#Page_153">153</a>, Changed: "Coptic carving should
+be ound earlier" to: "found"</li>
+
+<li>pg <a href="#Page_200">200</a>, Missing reference to note 67
+added after "the Sūk El-Keftīyīn."</li>
+
+<li>pg <a href="#Page_226">226</a>, footnote <a href=
+"#Footnote_74">74</a>, Changed: "inscriptions in Kū y and Naskhy"
+to: "Kūfy"</li>
+
+<li>pg <a href="#Page_296">296</a>, Changed: "stiff-looking green
+and read peacocks" to: "red"</li>
+
+<li>pg <a href="#Page_311">311</a>, Changed: "[Muayyad, El-,] 69
+<em>n.</em>" to: "68 <em>n.</em>"</li>
+
+<li>Some minor changes in spelling and punctuation have been done
+silently.</li>
+</ul>
+</div>
+</div>
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78943 ***</div>
+</body>
+</html>
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