The art of the Saracens in Egypt

Chapter I

The 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 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.