In Morocco Part 9

VI

THE SAADIAN TOMBS

On one of the last days of our stay in Marrakech we were told, almost mysteriously, that permission was to be given us to visit the tombs of the Saadian Sultans.

Though Marrakech has been in the hands of the French since 1912, the very existence of these tombs was unknown to the authorities till 1917.

Then the Sultan's government privately informed the Resident General that an unsuspected treasure of Moroccan art was falling into ruin, and after some hesitation it was agreed that General Lyautey and the Director of Fine Arts should be admitted to the mosque containing the tombs, on the express condition that the French Government undertook to repair them. While we were at Rabat General Lyautey had described his visit to us, and it was at his request that the Sultan authorized us to see the mosque, to which no travellers had as yet been admitted.

With a good deal of ceremony, and after the customary _pourparlers_ with the great Pasha who controls native affairs at Marrakech, an hour was fixed for our visit, and we drove through long lanes of mud-huts to a lost quarter near the walls. At last we came to a deserted square on one side of which stands the long low mosque of Mansourah with a turquoise-green minaret embroidered with traceries of sculptured terra cotta. Opposite the mosque is a gate in a crumbling wall; and at this gate the Pasha's Cadi was to meet us with the keys of the mausoleum. But we waited in vain. Oriental dilatoriness, or a last secret reluctance to admit unbelievers to a holy place, had caused the Cadi to forget his appointment; and we drove away disappointed.

The delay drove us to wondering about these mysterious Saadian Sultans, who, though coming so late in the annals of Morocco, had left at least one monument said to be worthy of the Merinid tradition. And the tale of the Saadians is worth telling.

They came from Arabia to the Draa (the fruitful country south of the Great Atlas) early in the fifteenth century, when the Merinid empire was already near disintegration. Like all previous invaders they preached the doctrine of a pure Islamism to the polytheistic and indifferent Berbers, and found a ready hearing because they denounced the evils of a divided empire, and also because the whole of Morocco was in revolt against the Christian colonies of Spain and Portugal, which had encircled the coast from Ceuta to Agadir with a chain of fortified counting-houses. To _bouter dehors_ the money-making unbeliever was an object that found adherents from the Rif to the Sahara, and the Saadian cherifs soon rallied a mighty following to their standard. Islam, though it never really gave a creed to the Berbers, supplied them with a war-cry as potent to-day as when it first rang across Barbary.

The history of the Saadians is a foreshortened record of that of all their predecessors. They overthrew the artistic and luxurious Merinids, and in their turn became artistic and luxurious. Their greatest Sultan, Abou-el-Abbas, surnamed "The Golden," after defeating the Merinids and putting an end to Christian rule in Morocco by the crus.h.i.+ng victory of El-Ksar (1578), bethought him in his turn of enriching himself and beautifying his capital, and with this object in view turned his attention to the black kingdoms of the south.

Senegal and the Soudan, which had been Mohammedan since the eleventh century, had attained in the sixteenth century a high degree of commercial wealth and artistic civilization. The Sultanate of Timbuctoo seems in reality to have been a thriving empire, and if Timbuctoo was not the Claude-like vision of Carthaginian palaces which it became in the tales of imaginative travellers, it apparently had something of the magnificence of Fez and Marrakech.

The Saadian army, after a march of four and a half months across the Sahara, conquered the whole black south. Senegal, the Soudan and Bornou submitted to Abou-el-Abbas, the Sultan of Timbuctoo was dethroned, and the celebrated negro jurist Ahmed-Baba was brought a prisoner to Marrakech, where his chief sorrow appears to have been for the loss of his library of 1,600 volumes--though he declared that, of all the numerous members of his family, it was he who possessed the smallest number of books.

Besides this learned bibliophile, the Sultan Abou-el-Abbas brought back with him an immense booty, princ.i.p.ally of ingots of gold, from which he took his surname of "The Golden"; and as the result of the expedition Marrakech was embellished with mosques and palaces for which the Sultan brought marble from Carrara, paying for it with loaves of sugar from the sugar-cane that the Saadians grew in the Souss.

In spite of these brilliant beginnings the rule of the dynasty was short and without subsequent interest. Based on a fanatical antagonism against the foreigner, and fed by the ever-wakeful hatred of the Moors for their Spanish conquerors, it raised ever higher the Chinese walls of exclusiveness which the more enlightened Almohads and Merinids had sought to overthrow. Henceforward less and less daylight and fresh air were to penetrate into the _souks_ of Morocco.

The day after our unsuccessful attempt to see the tombs of these ephemeral rulers we received another message, naming an hour for our visit; and this time the Pasha's representative was waiting in the archway. We followed his lead, under the openly mistrustful glances of the Arabs who hung about the square, and after picking our way through a twisting land between walls we came out into a filthy nettle-grown s.p.a.ce against the ramparts. At intervals of about thirty feet splendid square towers rose from the walls, and facing one of them lay a group of crumbling buildings masked behind other ruins.

We were led first into a narrow mosque or praying-chapel, like those of the Medersas, with a coffered cedar ceiling resting on four marble columns, and traceried walls of unusually beautiful design. From this chapel we pa.s.sed into the hall of the tombs, a cube about forty feet square. Fourteen columns of colored marble sustain a domed ceiling of gilded cedar, with an exterior deambulatory under a tunnel-vaulting also roofed with cedar. The walls are, as usual, of chiselled stucco, above revetements of ceramic mosaic, and between the columns lie the white marble cenotaphs of the Saadian Sultans, covered with Arabic inscriptions in the most delicate low-relief. Beyond this central mausoleum, and balancing the praying-chapel, lies another long narrow chamber, gold-ceilinged also, and containing a few tombs.

It is difficult, in describing the architecture of Morocco, to avoid producing an impression of monotony. The ground-plan of mosques and Medersas is always practically the same; and the same elements, few in number and endlessly repeated, make up the materials and the form of the ornament. The effect upon the eye is not monotonous, for a patient art has infinitely varied the combinations of pattern and the juxtapositions of color; while the depth of undercutting of the stucco, and the treatment of the bronze doors and of the carved cedar corbels, necessarily varies with the periods which produced them.

But in the Saadian mausoleum a new element has been introduced which makes this little monument a thing apart. The marble columns supporting the roof appear to be unique in Moroccan architecture, and they lend themselves to a new roof-plan which relates the building rather to the tradition of Venice or Byzantine by way of Kairouan and Cordova.

The late date of the monument precludes any idea of a direct artistic tradition. The most probable explanation seems to be that the architect of the mausoleum was familiar with European Renaissance architecture, and saw the beauty to be derived from using precious marbles not merely as ornament, but in the Roman and Italian way, as a structural element.

Panels and fountain-basins are ornament, and ornament changes nothing essential in architecture; but when, for instance, heavy square piers are replaced by detached columns, a new style results.

It is not only the novelty of its plan that makes the Saadian mausoleum singular among Moroccan monuments. The details of its ornament are of the most intricate refinement: it seems as though the last graces of the expiring Merinid art had been gathered up into this rare blossom. And the slant of sunlight on l.u.s.trous columns, the depths of fretted gold, the dusky ivory of the walls and the pure white of the cenotaphs, so cla.s.sic in spareness of ornament and simplicity of design--this subtle harmony of form and color gives to the dim rich chapel an air of dream-like unreality.

[Ill.u.s.tration: _From a photograph by M. Andre Chevrillon_

Marrakech--Mausoleum of the Saadian Sultans (sixteenth century) showing the tombs]

And how can it seem other than a dream? Who can have conceived, in the heart of a savage Saharan camp, the serenity and balance of this hidden place? And how came such fragile loveliness to survive, preserving, behind a screen of tumbling walls, of nettles and offal and dead beasts, every curve of its traceries and every cell of its honeycombing?

Such questions inevitably bring one back to the central riddle of the mysterious North African civilization: the perpetual flux and the immovable stability, the barbarous customs and sensuous refinements, the absence of artistic originality and the gift for regrouping borrowed motives, the patient and exquisite workmans.h.i.+p and the immediate neglect and degradation of the thing once made.

Revering the dead and camping on their graves, elaborating exquisite monuments only to abandon and defile them, venerating scholars.h.i.+p and wisdom and living in ignorance and grossness, these gifted races, perpetually struggling to reach some higher level of culture from which they have always been swept down by a fresh wave of barbarism, are still only a people in the making.

It may be that the political stability which France is helping them to acquire will at last give their higher qualities time for fruition; and when one looks at the mausoleum of Marrakech and the Medersas of Fez one feels that, were the experiment made on artistic grounds alone, it would yet be well worth making.

FOOTNOTES:

[18] Moulay-el-Ha.s.san reigned from 1873 to 1894.

[19] Dates do not ripen in Morocco.

V

HAREMS AND CEREMONIES

I

THE CROWD IN THE STREET

To occidental travellers the most vivid impression produced by a first contact with the Near East is the surprise of being in a country where the human element increases instead of diminis.h.i.+ng the delight of the eye.

After all, then, the intimate harmony between nature and architecture and the human body that is revealed in Greek art was not an artist's counsel of perfection but an honest rendering of reality: there were, there still are, privileged scenes where the fall of a green-grocer's draperies or a milkman's cloak or a beggar's rags are part of the composition, distinctly related to it in line and colour, and where the natural unstudied att.i.tudes of the human body are correspondingly harmonious, however hum-drum the acts it is engaged in. The discovery, to the traveller returning from the East, robs the most romantic scenes of western Europe of half their charm: in the Piazza of San Marco, in the market-place of Siena, where at least the robes of the Procurators or the gay tights of Pinturicchio's striplings once justified man's presence among his works, one can see, at first, only the outrage inflicted on beauty by the "plentiful strutting manikins" of the modern world.

Moroccan crowds are always a feast to the eye. The instinct of skilful drapery, the sense of colour (subdued by custom, but breaking out in subtle glimpses under the universal ashy tints) make the humblest a.s.semblage of donkey-men and water-carriers an ever-renewed delight. But it is only on rare occasions, and in the court ceremonies to which so few foreigners have had access, that the hidden sumptuousness of the native life is revealed. Even then, the term sumptuousness may seem ill-chosen, since the nomadic nature of African life persists in spite of palaces and chamberlains and all the elaborate ritual of the Makhzen, and the most pompous rites are likely to end in a dusty gallop of wild tribesmen, and the most princely processions to tail off in a string of half-naked urchins riding bareback on donkeys.

As in all Oriental countries, the contact between prince and beggar, vizier and serf is disconcertingly free and familiar, and one must see the highest court officials kissing the hem of the Sultan's robe, and hear authentic tales of slaves given by one merchant to another at the end of a convivial evening, to be reminded that nothing is as democratic in appearance as a society of which the whole structure hangs on the whim of one man.

II

AD-EL-KEBIR

In the verandah of the Residence of Rabat I stood looking out between posts festooned with gentian-blue ipomeas at the first s.h.i.+mmer of light on black cypresses and white tobacco-flowers, on the scattered roofs of the new town, and the plain stretching away to the Sultan's palace above the sea.

We had been told, late the night before, that the Sultan would allow Madame Lyautey, with the three ladies of her party, to be present at the great religious rite of the Ad-el-Kebir (the Sacrifice of the Sheep).

The honour was an unprecedented one, a favour probably conceded only at the last moment: for as a rule no women are admitted to these ceremonies. It was an opportunity not to be missed; and all through the short stifling night I had lain awake wondering if I should be ready early enough. Presently the motors a.s.sembled, and we set out with the French officers in attendance on the Governor's wife.

The Sultan's palace, a large modern building on the familiar Arab lines, lies in a treeless and gardenless waste enclosed by high walls and close above the blue Atlantic. We motored past the gates, where the Sultan's Black Guard was drawn up, and out to the _msalla_,[20] a sort of common adjacent to all the Sultan's residences where public ceremonies are usually performed. The sun was already beating down on the great plain thronged with hors.e.m.e.n and with the native population of Rabat on mule-back and foot. Within an open s.p.a.ce in the centre of the crowd a canvas palissade dyed with a bold black pattern surrounded the Sultan's tents. The Black Guard, in scarlet tunics and white and green turbans, were drawn up on the edge of the open s.p.a.ce, keeping the spectators at a distance; but under the guidance of our companions we penetrated to the edge of the crowd.

The palissade was open on one side, and within it we could see moving about among the snowy-robed officials a group of men in straight narrow gowns of almond-green, peach-blossom, lilac and pink; they were the Sultan's musicians, whose coloured dresses always flower out conspicuously among the white draperies of all the other court attendants.

In the tent nearest the opening, against a background of embroidered hangings, a circle of majestic turbaned old men squatted placidly on Rabat rugs. Presently the circle broke up, there was an agitated coming and going, and some one said: "The Sultan has gone to the tent at the back of the enclosure to kill the sheep."

A sense of the impending solemnity ran through the crowd. The mysterious rumour which is the Voice of the Bazaar rose about us like the wind in a palm-oasis; the Black Guard fired a salute from an adjoining hillock; the clouds of red dust flung up by wheeling hors.e.m.e.n thickened and then parted, and a white-robed rider sprang out from the tent of the Sacrifice with something red and dripping across his saddle-bow, and galloped away toward Rabat through the shouting. A little s.h.i.+ver ran over the group of occidental spectators, who knew that the dripping red thing was a sheep with its throat so skilfully slit that, if the omen were favourable, it would live on through the long race to Rabat and gasp out its agonized life on the tiles of the Mosque.

The Sacrifice of the Sheep, one of the four great Moslem rites, is simply the annual propitiatory offering made by every Mahometan head of a family, and by the Sultan as such. It is based not on a Koranic injunction, but on the "Souna" or record of the Prophet's "custom" or usages, which forms an authoritative precedent in Moslem ritual. So far goes the Moslem exegesis. In reality, of course, the Moslem blood-sacrifice comes, by way of the Semitic ritual, from far beyond and behind it; and the belief that the Sultan's prosperity for the coming year depends on the animal's protracted agony seems to relate the ceremony to the dark magic so deeply rooted in the mysterious tribes peopling North Africa long ages before the first Phoenician prows had rounded its coast.

Between the Black Guard and the tents, five or six horses were being led up and down by muscular grooms in snowy tunics. They were handsome animals, as Moroccan horses go, and each of a different colour; and on the bay horse was a red saddle embroidered in gold, on the piebald a saddle of peach-colour and silver, on the chestnut, gra.s.s-green encrusted with seed-pearls, on the white mare purple housings, and orange velvet on the grey. The Sultan's band had struck up a shrill hammering and tw.a.n.ging, the salute of the Black Guard continued at intervals, and the caparisoned steeds began to rear and snort and drag back from the cruel Arab bits with their exquisite _niello_ incrustations. Some one whispered that these were His Majesty's horses--and that it was never known till he appeared which one he would mount.

Presently the crowd about the tents thickened, and when it divided again there emerged from it a grey horse bearing a motionless figure swathed in blinding white. Marching at the horse's bridle, lean brown grooms in white tunics rhythmically waved long strips of white linen to keep off the flies from the Imperial Presence; and beside the motionless rider, in a line with his horse's flank, rode the Imperial Parasol-bearer, who held above the sovereign's head a great sunshade of bright green velvet.

Slowly the grey horse advanced a few yards before the tent; behind rode the court dignitaries, followed by the musicians, who looked, in their bright scant caftans, like the slender music-making angels of a Florentine fresco.