III. Fez

I

The First Vision

Many-walled Fez rose up before us out of the plain toward the end of the day.

The walls and towers we saw were those of the upper town, Fez Eldjid (the New), which lies on the edge of the plateau and hides from view Old Fez tumbling down below it into the ravine of the Oued Fez. Thus approached, the city presents to view only a long line of ramparts and fortresses, merging into the wide, tawny plain and framed in barren mountains. Not a house is visible outside the walls, except, at a respectful distance, the few unobtrusive buildings of the European colony; and not a village breaks the desolation of the landscape.

As we drew nearer, the walls towered close over us, and skirting them we came to a bare space outside a great horseshoe gate, and found ourselves suddenly in the foreground of a picture by Carpaccio or Bellini. Where else had one seen just those rows of white-turbaned majestic figures, squatting in the dust under lofty walls, all the pale faces ringed in curling beards turned to the story-teller in the centre of the group? Transform the story-teller into a rapt young Venetian, and you have the audience and the foreground of Carpaccio's "Preaching of St. Stephen," even to the camels craning inquisitive necks above the turbans. Every step of the way in North Africa corroborates the close observation of the early travellers, whether painters or narrators, and shows the unchanged character of the Oriental life that the Venetians pictured, and Leo Africanus and Windus and Charles Cochelet described.

There was time, before sunset, to go up to the hill, from which the ruined tombs of the Merinid Sultans look down over the city they made glorious. After the savage massacre of foreign residents in 1912 the French encircled the heights commanding Fez with one of their admirably engineered military roads, and in a few minutes our motor had climbed to the point from which the great dynasty of artist-Sultans dreamed of looking down forever on their capital.

Nothing endures in Islam, except what human inertia has left standing and its own solidity has preserved from the elements. Or rather, nothing remains intact, and nothing wholly perishes, but the architecture, like all else, lingers on half-ruined and half-unchanged. The Merinid tombs, however, are only hollow shells and broken walls, grown part of the brown cliff they cling to. No one thinks of them save as an added touch of picturesqueness where all is picturesque: they survive as the best point from which to look down at Fez.

There it lies, outspread in golden light, roofs, terraces, and towers sliding over the plain's edge in a rush dammed here and there by barriers of cypress and ilex, but growing more precipitous as the ravine of the Fez narrows downward with the fall of the river. It is as though some powerful enchanter, after decreeing that the city should be hurled into the depths, had been moved by its beauty, and with a wave of his wand held it suspended above destruction.

At first the eye takes in only this impression of a great city over a green abyss; then the complex scene begins to define itself. All around are the outer lines of ramparts, walls beyond walls, their crenellations climbing the heights, their angle fortresses dominating the precipices. Almost on a level with us lies the upper city, the aristocratic Fez Eldjid of painted palaces and gardens; then, as the houses close in and descend more abruptly, terraces, minarets, domes, and long reed-thatched roofs of the bazaars, all gather around the green-tiled tomb of Moulay Idriss, and the tower of the Almohad mosque of El Kairouiyin, which adjoin each other in the depths of Fez, and form its central sanctuary.

*

From the Merinid hill we had noticed a long facade among the cypresses and fruit-trees of Eldjid. This was Bou-Jeloud, the old summer-palace of the Sultan's harem, now the house of the Resident-General, where lodgings had been prepared for us.

The road descended again, crossing the Oued Fez by one of the fine old single-arch bridges that mark the architectural link between Morocco and Spain. We skirted high walls, wayside pools, and dripping mill-wheels; then one of the city gates engulfed us, and we were in the waste spaces of intramural Fez, formerly the lines of defense of a rich and perpetually menaced city, now chiefly used for refuse-heaps, open-air fondaks, and dreaming-places for rows of Lazaruses rolled in their cerements in the dust.

Through another gate and more walls we came to an arch in the inner line of defense. Beyond that, the motor paused before a green door, where a Cadi in a silken caftan received us. Across squares of orange-trees divided by running water we were led to an arcaded apartment hung with Moroccan embroideries and lined with wide divans; the hall of reception of the Resident-General. Through its arches were other tiled distances, fountains, arcades; beyond, in greener depths, the bright blossoms of a flower-garden. Such was our first sight of Bou-Jeloud, once the summer-palace of the wives of Moulay Hafid.

Upstairs, from a room walled and ceiled with cedar, and decorated with the bold rose-pink embroideries of Sale and the intricate old needlework of Fez, I looked out over the upper city toward the mauve and tawny mountains.

Just below the window the flat roofs of a group of little houses descended like the steps of an irregular staircase. Between them rose a few cypresses and a green minaret; out of the court of one house an ancient fig-tree thrust its twisted arms. The sun had set, and one after another bright figures appeared on the roofs. The children came first, hung with silver amulets and amber beads, and pursued by negresses in striped turbans, who bustled up with rugs and matting; then the mothers followed more indolently, released from their ashy mufflings and showing, under their light veils, long earrings from the Mellah[10] and caftans of pale green or peach color.

The houses were humble ones, such as grow up in the cracks of a wealthy quarter, and their inhabitants doubtless small folk; but in the enchanted African twilight the terraces blossomed like gardens, and when the moon rose and the muezzin called from the minaret, the domestic squabbles and the shrill cries from roof to roof became part of a story in Bagdad, overheard a thousand years ago by that arch-detective Haroun-al-Raschid.

II

Fez Eldjid

It is usual to speak of Fez as very old, and the term seems justified when one remembers that the palace of Bou-Jeloud stands on the site of an Almoravid Kasbah of the eleventh century, that when that Kasbah was erected Fez Elbali had already existed for three hundred years, that El Kairouiyin is the contemporary of Sant' Ambrogio of Milan, and that the original mosque of Moulay Idriss II was built over his grave in the eighth century.

Fez is, in fact, the oldest city in Morocco without a Phenician or a Roman past, and has preserved more traces than any other of its architectural flowering-time; yet it would be truer to say of it, as of all Moroccan cities, that it has no age, since its seemingly immutable shape is forever crumbling and being renewed on the old lines.

When we rode forth the next day to visit some of the palaces of Eldjid our pink-saddled mules carried us at once out of the bounds of time. How associate anything so precise and Occidental as years or centuries with these visions of frail splendor seen through cypresses and roses? The Cadis in their multiple muslins, who received us in secret doorways and led us by many passages into the sudden wonder of gardens and fountains; the bright-earringed negresses peering down from painted balconies; the pilgrims and clients dozing in the sun against hot walls; the deserted halls with plaster lace-work and gold pendentives in tiled niches; the Venetian chandeliers and tawdry rococo beds; the terraces from which pigeons whirled up in a white cloud while we walked on a carpet of their feathers--were all these the ghosts of vanished state, or the actual setting of the life of some rich merchant with "business connections" in Liverpool and Lyons, or some government official at that very moment speeding to Meknez or Casablanca in his sixty h. p. motor?

[Illustration: From a photograph from the Service des Beaux-Arts au Maroc

Fez Eldjid (the upper city)]

We visited old palaces and new, inhabited and abandoned, and over all lay the same fine dust of oblivion, like the silvery mould on an overripe fruit. Overripeness is indeed the characteristic of this rich and stagnant civilization. Buildings, people, customs, seem all about to crumble and fall of their own weight: the present is a perpetually prolonged past. To touch the past with one's hands is realized only in dreams; and in Morocco the dream-feeling envelopes one at every step. One trembles continually lest the "Person from Porlock" should step in.

He is undoubtedly on the way; but Fez had not heard of him when we rode out that morning. Fez Eldjid, the "New Fez" of palaces and government buildings, was founded in the fourteenth century by the Merinid princes, and probably looks much as it did then. The palaces in their overgrown gardens, with pale-green trellises dividing the rose-beds from the blue-and-white tiled paths, and fountains in fluted basins of Italian marble, all had the same drowsy charm; yet the oldest were built not more than a century or two ago, others within the last fifty years; and at Marrakech, later in our journey, we were to visit a sumptuous dwelling where plaster-cutters and ceramists from Fez were actually repeating with wonderful skill and spontaneity, the old ornamentation of which the threads run back to Rome and Damascus.

Of really old private dwellings, palaces or rich men's houses, there are surprisingly few in Morocco. It is hard to guess the age of some of the featureless houses propping each other's flanks in old Fez or old Sale; but people rich enough to rebuild have always done so, and the passion for building seems allied, in this country of inconsequences, to the supine indifference that lets existing constructions crumble back to clay. "Dust to dust" should have been the motto of the Moroccan palace-builders.

Fez possesses one old secular building, a fine fondak of the fifteenth century; but in Morocco, as a rule, only mosques and the tombs of saints are preserved--none too carefully--and even the strong stone buildings of the Almohads have been allowed to fall to ruin, as at Chella and Rabat. This indifference to the completed object--which is like a kind of collective exaggeration of the artist's indifference to his completed work--has resulted in the total disappearance of the furniture and works of art which must have filled the beautiful buildings of the Merinid period. Neither pottery nor brass-work nor enamels nor fine hangings survive; there is no parallel in Morocco to the textiles of Syria, the potteries of Persia, the Byzantine ivories or enamels. It has been said that the Moroccan is always a nomad, who lives in his house as if it were a tent; but this is not a conclusive answer to any one who knows the passion of the modern Moroccan for European furniture. When one reads the list of the treasures contained in the palaces of the mediaeval Sultans of Egypt one feels sure that, if artists were lacking in Morocco, the princes and merchants who brought skilled craftsmen across the desert to build their cities must also have imported treasures to adorn them. Yet, as far as is known, the famous fourteenth-century bronze chandelier of Tetuan, and the fine old ritual furniture reported to be contained in certain mosques, are the only important works of art in Morocco later in date than the Roman sloughi of Volubilis.

III

Fez Elbali

The distances in Fez are so great and the streets so narrow, and in some quarters so crowded, that all but saints or humble folk go about on mule-back.

In the afternoon, accordingly, the pink mules came again, and we set out for the long tunnel-like street that leads down the hill to the Fez Elbali.

"Look out--'ware heads!" our leader would call back at every turn, as our way shrank to a black passage under a house bestriding the street, or a caravan of donkeys laden with obstructive reeds or branches of dates made the passers-by flatten themselves against the walls.

On each side of the street the houses hung over us like fortresses, leaning across the narrow strip of blue and throwing out great beams and buttresses to prop each other's bulging sides. Windows there were none on the lower floors; only here and there an iron-barred slit stuffed with rags and immemorial filth, from which a lean cat would suddenly spring out, and scuttle off under an archway like a witch's familiar.

[Illustration: From a photograph from the Service des Beaux-Arts au Maroc

Fez--a reed-roofed street]

Some of these descending lanes were packed with people, others as deserted as a cemetery; and it was strange to pass from the thronged streets leading to the bazaars to the profound and secretive silence of a quarter of well-to-do dwelling-houses, where only a few veiled women attended by negro slaves moved noiselessly over the clean cobblestones, and the sound of fountains and runnels came from hidden courtyards and over garden-walls.

This noise of water is as characteristic of Fez as of Damascus. The Oued Fez rushes through the heart of the town, bridged, canalized, built over, and ever and again bursting out into tumultuous falls and pools shadowed with foliage. The central artery of the city is not a street but a waterfall; and tales are told of the dark uses to which, even now, the underground currents are put by some of the dwellers behind the blank walls and scented gardens of those highly respectable streets.

The crowd in Oriental cities is made up of many elements, and in Morocco Turks, Jews and infidels, Berbers of the mountains, fanatics of the confraternities, Soudanese blacks and haggard Blue Men of the Souss, jostle the merchants and government officials with that democratic familiarity which goes side by side with abject servility in this land of perpetual contradictions. But Fez is above all the city of wealth and learning, of universities and counting-houses, and the merchant and the oulama[11]--the sedentary and luxurious types--prevail.

The slippered Fazi merchant, wrapped in white muslins and securely mounted on a broad velvet saddle-cloth anchored to the back of a broad mule, is as unlike the Arab horseman of the desert as Mr. Tracy Tupman was unlike the Musketeers of Dumas. Ease, music, money-making, the affairs of his harem and the bringing-up of his children, are his chief interests, and his plump pale face with long-lashed hazel eyes, his curling beard and fat womanish hands, recall the portly potentates of Hindu miniatures, dreaming among houris beside lotus-tanks.

These personages, when they ride abroad, are preceded by a swarthy footman, who keeps his hand on the embroidered bridle; and the government officers and dignitaries of the Makhzen[12] are usually escorted by several mounted officers of their household, with a servant to each mule. The cry of the runners scatters the crowd, and even the panniered donkeys and perpetually astonished camels somehow contrive to become two-dimensional while the white procession goes by.

Then the populace closes in again, so quickly and densely that it seems impossible it could ever have been parted, and negro water-carriers, muffled women, beggars streaming with sores, sinewy and greasy "saints," Soudanese sorcerers hung with amulets made of sardine-boxes and hares'-feet, long-lashed boys of the Chleuh in clean embroidered caftans, Jews in black robes and skull-caps, university students carrying their prayer-carpets, bangled and spangled black women, scrofulous children with gazelle eyes and mangy skulls, and blind men tapping along with linked arms and howling out verses of the Koran, surge together in a mass drawn by irresistible suction to the point where the bazaars converge about the mosques of Moulay Idriss and El Kairouiyin.

Seen from a terrace of the upper town, the long thatched roofing of El Attarine, the central bazaar of Fez, promises fantastic revelations of native life; but the dun-colored crowds moving through its checkered twilight, the lack of carved shop-fronts and gaily adorned coffee-houses, and the absence of the painted coffers and vivid embroideries of Tunis, remind one that Morocco is a melancholy country, and Fez a profoundly melancholy city.

Dust and ashes, dust and ashes, echoes from the gray walls, the mouldering thatch of the souks, the long lamentable song of the blind beggars sitting in rows under the feet of the camels and asses. No young men stroll through the bazaar in bright caftans, with roses and jasmine behind their ears, no pedlars offer lemonade and sweetmeats and golden fritters, no flower-sellers pursue one with tight bunches of orange-blossom and little pink roses. The well-to-do ride by in white, and the rest of the population goes mournfully in earth-color.

But gradually one falls under the spell of another influence--the influence of the Atlas and the desert. Unknown Africa seems much nearer to Morocco than to the white towns of Tunis and the smiling oases of South Algeria. One feels the nearness of Marrakech at Fez, and at Marrakech that of Timbuctoo.

Fez is sombre, and the bazaars clustered about its holiest sanctuaries form its most sombre quarter. Dusk falls there early, and oil-lanterns twinkle in the merchants' niches while the clear African daylight still lies on the gardens of upper Fez. This twilight adds to the mystery of the souks, making them, in spite of profane noise and crowding and filth, an impressive approach to the sacred places.

Until a year or two ago, the precincts around Moulay Idriss and El Kairouiyin were horm, that is, cut off from the unbeliever. Heavy beams of wood barred the end of each souk, shutting off the sanctuaries, and the Christian could only conjecture what lay beyond. Now he knows in part; for, though the beams have not been lowered, all comers may pass under them to the lanes about the mosques, and even pause a moment in their open doorways. Farther one may not go, for the shrines of Morocco are still closed to unbelievers; but whoever knows Cordova, or has stood under the arches of the Great Mosque of Kairouan, can reconstruct something of the hidden beauties of its namesake, the "Mosque Kairouan" of western Africa.

Once under the bars, the richness of the old Moorish Fez presses upon one with unexpected beauty. Here is the graceful tiled fountain of Nedjarine, glittering with the unapproachable blues and greens of ceramic mosaics; near it, the courtyard of the Fondak Nedjarine, oldest and stateliest of Moroccan inns, with triple galleries of sculptured cedar rising above arcades of stone. A little farther on lights and incense draw one to a threshold where it is well not to linger unduly. Under a deep archway, between booths where gay votive candles are sold, the glimmer of hanging lamps falls on patches of gilding and mosaic, and on veiled women prostrating themselves before an invisible shrine--for this is the vestibule of the mosque of Moulay Idriss, where, on certain days of the week, women are admitted to pray.

Moulay Idriss was not built over the grave of the Fatimite prophet, first of the name, whose bones lie in the Zerhoun above his sacred town. The mosque of Fez grew up around the tomb of his posthumous son, Moulay Idriss II, who, descending from the hills, fell upon a camp of Berbers on an affluent of the Sebou, and there laid the foundations of Fez, and of the Moroccan Empire.

[Illustration: From a photograph from the Service des Beaux-Arts au Maroc

Fez--the Nedjarine fountain]

Of the original monument it is said that little remains. The zaouia[13] which encloses it dates from the reign of Moulay-Ismael, the seventeenth-century Sultan of Meknez, and the mosque itself, and the green minaret shooting up from the very centre of old Fez, were not built until 1820. But a rich surface of age has already formed on all these disparate buildings, and the over-gorgeous details of the shrines and fountains set in their outer walls are blended into harmony by a film of incense-smoke, and the grease of countless venerating lips and hands.

Featureless walls of mean houses close in again at the next turn; but a few steps farther another archway reveals another secret scene. This time it is a corner of the jealously guarded court of ablutions in the great mosque El Kairouiyin, with the twin green-roofed pavilions that are so like those of the Alhambra.

Those who have walked around the outer walls of the mosque of the other Kairouan, and recall the successive doors opening into the forecourt and into the mosque itself, will be able to guess at the plan of the church of Fez. The great Almohad sanctuary of Tunisia is singularly free from parasitic buildings, and may be approached as easily as that of Cordova; but the approaches of El Kairouiyin are so built up that one never knows at which turn of the labyrinth one may catch sight of its court of fountains, or peep down the endless colonnades of which the Arabs say: "The man who should try to count the columns of Kairouiyin would go mad."

Marble floors, heavy whitewashed piers, prostrate figures in the penumbra, rows of yellow slippers outside in the sunlight--out of such glimpses one must reconstruct a vision of the long vistas of arches, the blues and golds of the mirhab,[14] the lustre of bronze chandeliers, and the ivory inlaying of the twelfth-century minbar[15] of ebony and sandalwood.

No Christian footstep has yet profaned Kairouiyin, but fairly definite information as to its plan has been gleaned by students of Moroccan art. The number of its "countless" columns has been counted, and it is known that, to the right of the mirhab, carved cedar doors open into a mortuary chapel called "the mosque of the dead"--and also that in this chapel, on Fridays, old books and precious manuscripts are sold by auction.

This odd association of uses recalls the fact that Kairouiyin is not only a church but a library, the University of Fez as well as its cathedral. The beautiful Medersas with which the Merinids adorned the city are simply the lodging-houses of the students; the classes are all held in the courts and galleries adjoining the mosque.

El Kairouiyin was originally an oratory built in the ninth century by Fatmah, whose father had migrated from Kairouan to Fez. Later it was enlarged, and its cupola was surmounted by the talismans which protect sacred edifices against rats, scorpions and serpents; but in spite of these precautions all animal life was not successfully exorcised from it. In the twelfth century, when the great gate Ech Chemmain was building, a well was discovered under its foundations. The mouth of the well was obstructed by an immense tortoise; but when the workmen attempted to take the tortoise out she said: "Burn me rather than take me away from here." They respected her wishes and built her into the foundations; and since then women who suffer from the back-ache have only to come and sit on the bench above the well to be cured.

The actual mosque, or "praying-hall," is said to be formed of a rectangle or double cube of 90 metres by 45, and this vast space is equally divided by rows of horseshoe arches resting on whitewashed piers on which the lower part is swathed in finely patterned matting from Sale. Fifteen monumental doorways lead into the mosque. Their doors are of cedar, heavily barred and ornamented with wrought iron, and one of them bears the name of the artisan, and the date 531 of the Hegira (the first half of the twelfth century). The mosque also contains the two halls of audience of the Cadi, of which one has a graceful exterior facade with coupled lights under horseshoe arches; the library, whose 20,000 volumes are reported to have dwindled to about a thousand; the chapel where the Masters of the Koran recite the sacred text in fulfilment of pious bequests; the "museum" in the upper part of the minaret, wherein a remarkable collection of ancient astronomical instruments is said to be preserved; and the mestonda, or raised hall above the court, where women come to pray.

But the crown of El Kairouiyin is the Merinid court of ablutions. This inaccessible wonder lies close under the Medersa Attarine, one of the oldest and most beautiful collegiate buildings of Fez; and through the kindness of the Director of Fine Arts, who was with us, we were taken up to the roof of the Medersa and allowed to look down into the enclosure.

It is so closely guarded from below that from our secret of vantage we seemed to be looking down into the heart of forbidden things. Spacious and serene the great tiled cloister lay beneath us, water spilling over from a central basin of marble with a cool sound to which lesser fountains made answer from under the pyramidal green roofs of the twin pavilions. It was near the prayer-hour, and worshippers were flocking in, laying off their shoes and burnouses, washing their faces at the fountains and their feet in the central tank, or stretching themselves out in the shadow of the enclosing arcade.

This, then, was the famous court "so cool in the great heats that seated by thy beautiful jet of water I feel the perfection of bliss"--as the learned doctor Abou Abd Allah el Maghili sang of it; the court in which the students gather from the adjoining halls after having committed to memory the principals of grammar in prose and verse, the "science of the reading of the Koran," the invention, exposition and ornaments of style, law, medicine, theology, metaphysics and astronomy, as well as the talismanic numbers, and the art of ascertaining by calculation the influences of the angels, the spirits and the heavenly bodies, "the names of the victor and the vanquished, and of the desired object and the person who desires it."

Such is the twentieth-century curriculum of the University of Fez. Repetition is the rule of Arab education as it is of Arab ornament. The teaching of the University is based entirely on the mediaeval principle of mnemonics; and as there are no examinations, no degrees, no limits to the duration of any given course, nor is any disgrace attached to slowness in learning, it is not surprising that many students, coming as youths, linger by the fountain of Kairouiyin till their hair is gray. One well-known oulama has lately finished his studies after twenty-seven years at the University, and is justly proud of the length of his stay. The life of the scholar is easy, the way of knowledge is long, the contrast exquisite between the foul lanes and noisy bazaars outside and this cool heaven of learning. No wonder the students of Kairouiyin say with the tortoise: "Burn me rather than take me away."

IV

El Andalous And The Potters' Field

Outside the sacred precincts of Moulay Idriss and Kairouiyin, on the other side of the Oued Fez, lies El Andalous, the mosque which the Andalusian Moors built when they settled in Fez in the ninth century.

It stands apart from the bazaars, on higher ground, and though it is not horm we found it less easy to see than the more famous mosques, since the Christian loiterer in its doorways is more quickly noticed. The Fazi are not yet used to seeing unbelievers near their sacred places. It is only in the tumult and confusion of the souks that one can linger on the edge of the inner mysteries without becoming aware of attracting sullen looks; and my only impression of El Andalous is of a magnificent Almohad door and the rich blur of an interior in which there was no time to single out the details.

Turning from its forbidden and forbidding threshold we rode on through a poor quarter which leads to the great gate of Bab F'touh. Beyond the gate rises a dusty rocky slope extending to the outer walls--one of those grim intramural deserts that girdle Fez with desolation. This one is strewn with gravestones, not enclosed, but, as in most Moroccan cemeteries, simply cropping up like nettles between the rocks and out of the flaming dust. Here and there among the slabs rises a well-curb or a crumbling koubba. A solitary palm shoots up beside one of the shrines. And between the crowded graves the caravan trail crosses from the outer to the inner gate, and perpetual lines of camels and donkeys trample the dead a little deeper into the dusty earth.

This Bab F'touh cemetery is also a kind of fondak. Poor caravans camp there under the walls in a mire of offal and chicken-feathers and stripped date-branches prowled through by wolfish dogs and buzzed over by fat blue flies. Camel-drivers squat beside iron kettles over heaps of embers, sorcerers from the Sahara offer their amulets to negro women, peddlers with portable wooden booths sell greasy cakes that look as if they had been made out of the garbage of the caravans, and in and out among the unknown dead and sleeping saints circulates the squalid indifferent life of the living poor.

A walled lane leads down from Bab F'touh to a lower slope, where the Fazi potters have their baking-kilns. Under a series of grassy terraces overgrown with olives we saw the archaic ovens and dripping wheels which produce the earthenware sold in the souks. It is a primitive and homely ware, still fine in shape, though dull in color and monotonous in pattern; and stacked on the red earth under the olives, the rows of jars and cups, in their unglazed and unpainted state, showed their classical descent more plainly than after they have been decorated.

This green quiet hollow, where turbaned figures were moving attentively among the primitive ovens, so near to the region of flies and offal we had just left, woke an old phrase in our memories, and as our mules stumbled back over the graves of Bab F'touh we understood the grim meaning of the words: "They carried him out and buried him in the Potters' Field."

V

Medersas, Bazaars And An Oasis

Fez, for two centuries and more, was in a double sense the capital of Morocco: the centre of its trade as well as of its culture.

Culture, in fact, came to northwest Africa chiefly through the Merinid princes. The Almohads had erected great monuments from Rabat to Marrakech, and had fortified Fez; but their "mighty wasteful empire" fell apart like those that had preceded it. Stability had to come from the west; it was not till the Arabs had learned it through the Moors that Morocco produced a dynasty strong and enlightened enough to carry out the dream of its founders.

Whichever way the discussion sways as to the priority of eastern or western influences on Moroccan art--whether it came to her from Syria, and was thence passed on to Spain, or was first formed in Spain, and afterward modified by the Moroccan imagination--there can at least be no doubt that Fazi art and culture, in their prime, are partly the reflection of European civilization.

Fugitives from Spain came to the new city when Moulay Idriss founded it. One part of the town was given to them, and the river divided the Elbali of the Almohads into the two quarters of Kairouiyin and Andalous, which still retain their old names. But the full intellectual and artistic flowering of Fez was delayed till the thirteenth and fourteenth centuries. It seems as though the seeds of the new springtime of art, blown across the sea from reawakening Europe, had at last given the weltering tribes of the desert the force to create their own type of beauty.

Nine Medersas sprang up in Fez, six of them built by the princes who were also creating the exquisite collegiate buildings of Sale, Rabat and old Meknez, and the enchanting mosque and minaret of Chella. The power of these rulers also was in perpetual flux; they were always at war with the Sultans of Tlemeen, the Christians of Spain, the princes of northern Algeria and Tunis. But during the fourteenth century they established a rule wide and firm enough to permit of the great outburst of art and learning which produced the Medersas of Fez.

Until a year or two ago these collegiate buildings were as inaccessible as the mosques; but now that the French government has undertaken their restoration strangers may visit them under the guidance of the Fine Arts Department.

All are built on the same plan, the plan of Sale and Rabat, which (as M. Tranchant de Lunel[16] has pointed out) became, with slight modifications, that of the rich private houses of Morocco. But interesting as they are in plan and the application of ornament, their main beauty lies in their details: in the union of chiselled plaster with the delicate mosaic work of niches and revetements; the web-like arabesques of the upper walls and the bold, almost Gothic sculpture of the cedar architraves and corbels supporting them. And when all these details are enumerated, and also the fretted panels of cedar, the bronze doors with their great shield-like bosses, and the honeycombings and rufflings of the gilded ceilings, there still remains the general tinge of dry disintegration, as though all were perishing of a desert fever--that, and the final wonder of seeing before one, in such a setting, the continuance of the very life that went on there when the tiles were set and the gold was new on the ceilings.

For these tottering Medersas, already in the hands of the restorers, are still inhabited. As long as the stairway holds and the balcony has not rotted from its corbels, the students of the University see no reason for abandoning their lodgings above the cool fountain and the house of prayer. The strange men giving incomprehensible orders for unnecessary repairs need not disturb their meditations; and when the hammering grows too loud the oulamas have only to pass through the silk market or the souk of the embroiderers to the mosque of Kairouiyin, and go on weaving the pattern of their dreams by the fountain of perfect bliss.

*

One reads of the bazaars of Fez that they have been for centuries the central market of the country. Here are to be found not only the silks and pottery, the Jewish goldsmiths' work, the arms and embroidered saddlery which the city itself produces, but "morocco" from Marrakech, rugs, tent-hangings and matting from Rabat and Sale, grain baskets from Moulay Idriss, daggers from the Souss, and whatever European wares the native markets consume. One looks, on the plan of Fez, at the space covered by the bazaars; one breasts the swarms that pour through them from dawn to dusk--and one remains perplexed, disappointed. They are less "Oriental" than one had expected, if "Oriental" means color and gaiety.

Sometimes, on occasion, it does mean that: as, for instance, when a procession passes bearing the gifts for a Jewish wedding. The gray crowd makes way for a group of musicians in brilliant caftans, and following them comes a long file of women with uncovered faces and bejewelled necks, balancing on their heads the dishes the guests have sent to the feast--kouskous, sweet creams and syrups, "gazelles' horns" of sugar and almonds--in delicately woven baskets, each covered with several squares of bright gauze edged with gold. Then one remembers the marketing of the Lady of "The Three Calendars," and Fez again becomes the Bagdad of Al Raschid.

[Illustration: From a photograph from the Service des Beaux-Arts au Maroc

Fez--the bazaars. A view of the Souk el Attarine and the Quaisarya (silk market)]

But when no exceptional events, processions, ceremonies and the like brighten the underworld of the souks, their look is uniformly melancholy. The gay bazaars, the gaily-painted houses, the flowers and flute-playing of North Africa, are found in her Mediterranean ports, in contact with European influences. The farther west she extends, the more she becomes self-contained, sombre, uninfluenced, a gloomy fanatic with her back to the walls of the Atlantic and the Atlas. Color and laughter lie mostly along the trade-routes, where the peoples of the world come and go in curiosity and rivalry. This ashen crowd swarming gloomily through the dark tunnels represents the real Moghreb that is close to the wild tribes of the "hinterland" and the grim feudal fortresses of the Atlas. How close, one has only to go out to Sefrou on a market-day to see.

Sefrou is a military outpost in an oasis under the Atlas, about forty miles south of Fez. To most people the word "oasis" evokes palms and sand; but though Morocco possesses many oases it has no pure sand and few palms. I remember it as a considerable event when I discovered one from my lofty window at Bou-Jeloud.

The bled is made of very different stuff from the sand-ocean of the Sahara. The light plays few tricks with it. Its monotony is wearisome rather than impressive, and the fact that it is seldom without some form of dwarfish vegetation makes the transition less startling when the alluvial green is finally reached. One had always half expected it, and it does not spring at a djinn's wave out of sterile gold.

But the fact brings its own compensations. Moroccan oases differ one from another far more than those of South Algeria and Tunisia. Some have no palms, others but a few, others are real palm-oases, though even in the south (at least on the hither side of the great Atlas) none spreads out a dense uniform roofing of metal-blue fronds like the date-oases of Biskra or Tozeur. As for Sefrou, which Foucauld called the most beautiful oasis of Morocco, it is simply an extremely fertile valley with vineyards and orchards stretching up to a fine background of mountains. But the fact that it lies just below the Atlas makes it an important market-place and centre of caravans.

Though so near Fez it is still almost on the disputed border between the loyal and the "unsubmissive" tribes, those that are Blad-Makhzen (of the Sultan's government) and those that are against it. Until recently, therefore, it has been inaccessible to visitors, and even now a strongly fortified French post dominates the height above the town. Looking down from the fort, one distinguishes, through masses of many-tinted green, a suburb of Arab houses in gardens, and below, on the river, Sefrou itself, a stout little walled town with angle-towers defiantly thrust forth toward the Atlas. It is just outside these walls that the market is held.

It was swarming with hill-people the day we were there, and strange was the contrast between the crowd inside the circle of picketed horses and the white-robed cockneys from Rabat who fill the market-place of Sale. Here at last we were in touch with un-Arab Morocco, with Berbers of the bled and the hills, whose women know no veils and no seclusion, and who, under a thin surface of Mahometanism, preserve their old stone and animal worship, and all the gross fetichistic beliefs from which Mahomet dreamed of freeing Africa.

The men were lean and weather-bitten, some with negroid lips, others with beaked noses and gaunt cheek-bones, all muscular and fierce-looking. Some were wrapped in the black cloaks worn by the Blue Men of the Sahara,[17] with a great orange sun embroidered on the back; some tunicked like the Egyptian fellah, under a rough striped outer garment trimmed with bright tufts and tassels of wool. The men of the Rif had a braided lock on the shoulder, those of the Atlas a ringlet over each ear, and brown woollen scarfs wound round their temples, leaving the shaven crown bare.

The women, squatting among their kids and poultry and cheeses, glanced at us with brilliant hennaed eyes and smiles that lifted their short upper lips maliciously. Their thin faces were painted in stripes and patterns of indigo. Silver necklets covered their throats, long earrings dangled under the wool-embroidered kerchiefs bound about their temples with a twist of camel's hair, and below the cotton shifts fastened on their shoulders with silver clasps their legs were bare to the knee, or covered with leather leggings to protect them from the thorny bled.

They seemed abler bargainers than the men, and the play of expression on their dramatic and intensely feminine faces as they wheedled the price of a calf out of a fierce hillsman, or haggled over a heap of dates that a Jew with greasy ringlets was trying to secure for his secret distillery, showed that they knew their superiority and enjoyed it.

Jews abounded in the market-place and also in the town. Sefrou contains a large Israelite colony, and after we had wandered through the steep streets, over gushing waterfalls spanned by "ass-backed" Spanish bridges, and through a thatched souk smelling strong of camels and the desert, the French commissioner (the only European in Sefrou) suggested that it might interest us to visit the Mellah.

It was our first sight of a typical Jewish quarter in Africa. The Mellah of Fez was almost entirely destroyed during the massacres of 1912 (which incidentally included a pogrom), and its distinctive character, happily for the inhabitants, has disappeared in the rebuilding. North African Jews are still compelled to live in ghettos, into which they are locked at night, as in France and Germany in the Middle Ages; and until lately the men have been compelled to go unarmed, to wear black gabardines and black slippers, to take off their shoes when they passed near a mosque or a saint's tomb, and in various other ways to manifest their subjection to the ruling race. Nowhere else do they live in conditions of such demoralizing promiscuity as in some of the cities of Morocco. They have so long been subject to unrestricted extortion on the part of the Moslems that even the wealthy Jews (who are numerous) have sunk to the habits and appearance of the poorest; and Sefrou, which has come so recently under French control, offers a good specimen of a Mellah before foreign sanitation has lighted up its dark places.

Dark indeed they were. After wandering through narrow and malodorous lanes, and slipping about in the offal of the souks, we were suddenly led under an arch over which should have been written "All light abandon--" and which made all we had seen before seem clean and bright and airy.

The beneficent African sun dries up and purifies the immemorial filth of Africa; where that sun enters there is none of the foulness of damp. But into the Mellah of Sefrou it never comes, for the streets form a sort of subterranean rabbit-warren under the upper stories of a solid agglomeration of tall houses--a buried city lit even at midday by oil-lamps hanging in the goldsmiths' shops and under the archways of the black and reeking staircases.

It was a Jewish feast-day. The Hebrew stalls in the souks were closed, and the whole population of the Mellah thronged its tunnels in holiday dress. Hurrying past us were young women with plump white faces and lovely eyes, turbaned in brilliant gauzes, with draperies of dirty curtain muslin over tawdry brocaded caftans. Their paler children swarmed about them, little long-earringed girls like wax dolls dressed in scraps of old finery, little boys in tattered caftans with long-lashed eyes and wily smiles; and, waddling in the rear, their unwieldy grandmothers, huge lumps of tallowy flesh who were probably still in the thirties.

With them were the men of the family, in black gabardines and skull-caps: sallow striplings, incalculably aged ancestors, round-bellied husbands and fathers bumping along like black balloons; all hastening to the low doorways dressed with lamps and paper garlands behind which the feast was spread.

One is told that in cities like Fez and Marrakech the Hebrew quarter conceals flowery patios and gilded rooms with the heavy European furniture that rich Jews delight in. Perhaps even in the Mellah of Sefrou, among the ragged figures shuffling past us, there were some few with bags of gold in their walls and rich stuffs hid away in painted coffers; but for patios and flowers and daylight there seemed no room in the dark bolgia they inhabit. No wonder the babies of the Moroccan ghettos are nursed on date-brandy, and their elders doze away to death under its consoling spell.

VI

The Last Glimpse

It is well to bid good-by to Fez at night--a moonlight night for choice.

Then, after dining at the Arab inn of Fez Eldjid--where it might be inconvenient to lodge, but where it is extremely pleasant to eat kouskous under a grape-trellis in a tiled and fountained patio--this pleasure over, one may set out on foot and stray down the lanes toward Fez Elbali.

Not long ago the gates between the different quarters of the city used to be locked every night at nine o'clock, and the merchant who went out to dine in another part of the town had to lodge with his host. Now this custom has been given up, and one may roam about untroubled through the old quarters, grown as silent as the grave after the intense life of the bazaars has ceased at nightfall.

Nobody is in the streets: wandering from ghostly passage to passage, one hears no step but that of the watchman with staff and lantern. Presently there appears, far off, a light like a low-flying firefly; as it comes nearer, it is seen to proceed from the Mellah lamp of open-work brass that a servant carries ahead of two merchants on their way home from Elbali. The merchants are grave men: they move softly and slowly on their fat slippered feet, pausing from time to time in confidential talk. At last they stop before a house wall with a low blue door barred by heavy hasps of iron. The servant lifts the lamp and knocks. There is a long delay; then, with infinite caution, the door is opened a few inches, and another lifted light shines faintly on lustrous tiled walls, and on the face of a woman slave who quickly veils herself. Evidently the master is a man of standing, and the house well guarded. The two merchants touch each other on the right shoulder, one of them passes in, and his friend goes on through the moonlight, his servant's lantern dancing ahead.

But here we are in an open space looking down one of the descents to El Attarine. A misty radiance washes the tall houses, the garden-walls, the archways; even the moonlight does not whiten Fez, but only turns its gray to tarnished silver. Overhead in a tower window a single light twinkles: women's voices rise and fall on the roofs. In a rich man's doorway slaves are sleeping, huddled on the tiles. A cock crows from somebody's dunghill; a skeleton dog prowls by for garbage.

Everywhere is the loud rush or the low crooning of water, and over every wall comes the scent of jasmine and rose. Far off, from the red purgatory between the walls, sounds the savage thrum-thrum of a negro orgy; here all is peace and perfume. A minaret springs up between the roof like a palm, and from its balcony the little white figure bends over and drops a blessing on all the loveliness and all the squalor.

Footnotes:

[10] The Ghetto in African towns. All the jewellers in Morocco are Jews.

[11] Learned man, doctor of the university.

[12] The Sultan's government.

[13] Moslem monastery.

[14] Niche in the sanctuary of mosques.

[15] Movable pulpit.

[16] In France-Maroc, No. 1.

[17] So called because of the indigo dye of their tunics, which leaves a permanent stain on their bodies.