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This eBook from the Gutenberg Project consists of approximately 145 pages of information about In Morocco.

In any case, however, it is not in Morocco that the clue to Moroccan art is to be sought; though interesting hints and mysterious reminiscences will doubtless be found in such places as Tinmel, in the gorges of the Atlas, where a ruined mosque of the earliest Almohad period has been photographed by M. Doutte, and in the curious Algerian towns of Sedrata and the Kalaa of the Beni Hammads.  Both of these latter towns were rich and prosperous communities in the tenth century and both were destroyed in the eleventh, so that they survive as mediaeval Pompeiis of a quite exceptional interest, since their architecture appears to have been almost unaffected by classic or Byzantine influences.

Traces of a very old indigenous art are found in the designs on the modern white and black Berber pottery, but this work, specimens of which are to be seen in the Oriental Department of the Louvre, seems to go back, by way of Central America, Greece (sixth century B.C.) and Susa (twelfth century B.C.), to the far-off period before the streams of human invention had divided, and when the same loops and ripples and spirals formed on the flowing surface of every current.

It is a disputed question whether Spanish influence was foremost in developing the peculiarly Moroccan art of the earliest Moslem period, or whether European influences came by way of Syria and Palestine, and afterward met and were crossed with those of Moorish Spain.  Probably both things happened, since the Almoravids were in Spain; and no doubt the currents met and mingled.  At any rate, Byzantine, Greece, and the Palestine and Syria of the Crusaders, contributed as much as Rome and Greece to the formation of that peculiar Moslem art which, all the way from India to the Pillars of Hercules, built itself, with minor variations, out of the same elements.

Arab conquerors always destroy as much as they can of the work of their predecessors, and nothing remains, as far as is known, of Almoravid architecture in Morocco.  But the great Almohad Sultans covered Spain and Northwest Africa with their monuments, and no later buildings in Africa equal them in strength and majesty.

It is no doubt because the Almohads built in stone that so much of what they made survives.  The Merinids took to rubble and a soft tufa, and the Cherifian dynasties built in clay like the Spaniards in South America.  And so seventeenth century Meknez has perished while the Almohad walls and towers of the tenth century still stand.

The principal old buildings of Morocco are defensive and religious—­and under the latter term the beautiful collegiate houses (the medersas) of Fez and Sale may fairly be included, since the educational system of Islam is essentially and fundamentally theological.  Of old secular buildings, palaces or private houses, virtually none are known to exist; but their plan and decorations may easily be reconstituted from the early chronicles, and also from the surviving palaces built in the eighteenth and nineteenth centuries, and even those which the wealthy nobles of modern Morocco are building to this day.

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