The vastness, the silence, the catastrophic desolation of the place, were all the more impressive because of the relatively recent date of the buildings. As Moulay-Ismael had dealt with Volubilis, so time had dealt with his own Meknez; and the destruction which it had taken thousands of lash-driven slaves to inflict on the stout walls of the Roman city, neglect and abandonment had here rapidly accomplished. But though the sun-baked clay of which the impatient Sultan built his pleasure-houses will not suffer comparison with the firm stones of Rome, “the high Roman fashion” is visible in the shape and outline of these ruins. What they are no one knows. In spite of Ezziani’s text (written when the place was already partly destroyed) archaeologists disagree as to the uses of the crypt of rose-flushed clay whose twenty rows of gigantic arches are so like an alignment of Roman aqueducts. Were these the vaulted granaries, or the subterranean reservoirs under the three miles of stabling which housed the twelve thousand horses? The stables, at any rate, were certainly near this spot, for the lake adjoins the ruins as in the chronicler’s description; and between it and old Meknez, behind walls within walls, lie all that remains of the fifty palaces with their cupolas, gardens, mosques and baths.
This inner region is less ruined than the mysterious vaulted structure, and one of the palaces, being still reserved for the present Sultan’s use, cannot be visited; but we wandered unchallenged through desert courts, gardens of cypress and olive where dried fountains and painted summer-houses are falling into dust, and barren spaces enclosed in long empty facades. It was all the work of an eager and imperious old man, who, to realize his dream quickly, built in perishable materials, but the design, the dimensions, the whole conception, show that he had not only heard of Versailles but had looked with his own eyes on Volubilis.
[Illustration: From a photograph from the Service des Beaux-Arts au Maroc
Meknez—the ruins of the palace of Moulay-Ismael]
To build on such a scale, and finish the work in a single lifetime, even if the materials be malleable and the life a long one, implies a command of human labor that the other Sultan at Versailles must have envied. The imposition of the corvee was of course even simpler in Morocco than in France, since the material to draw on was unlimited, provided one could assert one’s power over it; and for that purpose Ismael had his Black Army, the hundred and fifty thousand disciplined legionaries who enabled him to enforce his rule over all the wild country from Algiers to Agadir.
The methods by which this army were raised and increased are worth recounting in Ezziani’s words:
“A taleb[A] of Marrakech having shown the Sultan a register containing the names of the negroes who had formed part of the army of El-Mansour, Moulay-Ismael ordered his agents to collect all that remained of these negroes and their children…. He also sent to the tribes of the Beni-Hasen, and into the mountains, to purchase all the negroes to be found there. Thus all that were in the whole of Moghreb were assembled, from the cities and the countryside, till not one was left, slave or free.
[Footnote A: Learned man.]
“These negroes were armed and clothed, and sent to Mechra Erremel (north of Meknez) where they were ordered to build themselves houses, plant gardens and remain till their children were ten years old. Then the Sultan caused all the children to be brought to him, both boys and girls. The boys were apprenticed to masons, carpenters, and other tradesmen; others were employed to make mortar. The next year they were taught to drive the mules, the third to make adobe for building; the fourth year they learned to ride horses bareback, the fifth they were taught to ride in the saddle while using firearms. At the age of sixteen these boys became soldiers. They were then married to the young negresses who had meanwhile been taught cooking and washing in the Sultan’s palaces—except those who were pretty, and these were given a musical education, after which each one received a wedding-dress and a marriage settlement, and was handed over to her husband.
“All the children of these couples were in due time destined for the Black Army, or for domestic service in the palaces. Every year the Sultan went to the camp at Mechra Erremel and brought back the children. The Black Army numbered one hundred and fifty thousand men, of whom part were at Erremel, part at Meknez, and the rest in the seventy-six forts which the Sultan built for them throughout his domain. May the Lord be merciful to his memory!”
Such was the army by means of which Ismael enforced the corvee on his undisciplined tribes. Many thousands of lives went to the building of imperial Meknez; but his subjects would scarcely have sufficed if he had not been able to add to them twenty-five thousand Christian captives.
M. Augustin Bernard, in his admirable book on Morocco, says that the seventeenth century was “the golden age of piracy” in Morocco; and the great Ismael was no doubt one of its chief promoters. One understands his unwillingness to come to an agreement with his great friend and competitor, Louis XIV, on the difficult subject of the ransom of Christian captives when one reads in the admiring Ezziani that it took fifty-five thousand prisoners and captives to execute his architectural conceptions.
“These prisoners, by day, were occupied on various tasks; at night they were locked into subterranean dungeons. Any prisoner who died at his task was built into the wall he was building.” (This statement is confirmed by John Windus, the English traveller who visited the court of Moulay-Ismael in the Sultan’s old age.) Many Europeans must have succumbed quickly to the heat and the lash, for the wall-builders were obliged to make each stroke in time with their neighbors, and were bastinadoed mercilessly if they broke the rhythm; and there is little doubt that the expert artisans of France, Italy and Spain were even dearer to the old architectural madman than the friendship of the palace-building despot across the sea.
Ezziani’s chronicle dates from the first part of the nineteenth century, and is an Arab’s colorless panegyric of a great Arab ruler; but John Windus, the Englishman who accompanied Commodore Stewart’s embassy to Meknez in 1721, saw the imperial palaces and their builder with his own eyes, and described them with the vivacity of a foreigner struck by every contrast.
Moulay-Ismael was then about eighty-seven years old, “a middle-sized man, who has the remains of a good face, with nothing of a negro’s features, though his mother was a black. He has a high nose, which is pretty long from the eyebrows downward, and thin. He has lost all his teeth, and breathes short, as if his lungs were bad, coughs and spits pretty often, which never falls to the ground, men being always ready with handkerchiefs to receive it. His beard is thin and very white, his eyes seem to have been sparkling, but their vigor decayed through age, and his cheeks very much sunk in.”
Such was the appearance of this extraordinary man, who deceived, tortured, betrayed, assassinated, terrorized and mocked his slaves, his subjects, his women and children and his ministers like any other half-savage Arab despot, but who yet managed through his long reign to maintain a barbarous empire, to police the wilderness, and give at least an appearance of prosperity and security where all had before been chaos.
The English emissaries appear to have been much struck by the magnificence of his palaces, then in all the splendor of novelty, and gleaming with marbles brought from Volubilis and Sale. Windus extols in particular the sunken gardens of cypress, pomegranate and orange trees, some of them laid out seventy feet below the level of the palace-courts; the exquisite plaster fretwork; the miles of tessellated walls and pavement made in the finely patterned mosaic work of Fez; and the long terrace walk trellised with “vines and other greens” leading from the palace to the famous stables, and over which it was the Sultan’s custom to drive in a chariot drawn by women and eunuchs.
Moulay-Ismael received the English ambassador with every show of pomp and friendship, and immediately “made him a present” of a handful of young English captives; but just as the negotiations were about to be concluded Commodore Stewart was privately advised that the Sultan had no intention of allowing the rest of the English to be ransomed. Luckily a di
plomatically composed letter, addressed by the English envoy to one of the favorite wives, resulted in Ismael’s changing his mind, and the captives were finally given up, and departed with their rescuers. As one stands in the fiery sun, among the monstrous ruins of those tragic walls, one pictures the other Christian captives pausing for a second, at the risk of death, in the rhythmic beat of their labor, to watch the little train of their companions winding away across the desert to freedom.
On the way back through the long streets that lead to the ruins we noticed, lying by the roadside, the shafts of fluted columns, blocks of marble, Roman capitals: fragments of the long loot of Sale and Volubilis. We asked how they came there, and were told that, according to a tradition still believed in the country, when the prisoners and captives who were dragging the building materials toward the palace under the blistering sun heard of the old Sultan’s death, they dropped their loads with one accord and fled. At the same moment every worker on the walls flung down his trowel or hod, every slave of the palaces stopped grinding or scouring or drawing water or carrying faggots or polishing the miles of tessellated floors, so that, when the tyrant’s heart stopped beating, at that very instant life ceased to circulate in the huge house he had built, and in all its members it became a carcass for his carcass.
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[A] and caftans of pale green or peach color.
[Footnote A: The Ghetto in African towns. All the jewellers in Morocco are Jews.]
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 true
r 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?
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.
In Morocco Page 5