In Morocco

moravid Kasbah of the eleventh century, that when that Kasbah was erected Fez Elbali had already existed for three hundred years, that El Kairouiy

han any other of its architectural flowering-time, yet it would be truer to say of it, as of all Moroccan cities

ys 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

ristic 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 t

photograph from the Se

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d (the up

eir 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 la

ping each other's flanks in old Fez or old Salé, but people rich enough to rebuild have always done so, and the passion for building seems allied, in this country of in

t have filled the beautiful buildings of the Merinid period. Neither pottery nor brasswork 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