CHAOS IN THE COURTYARD
STREETS LIKE VAULTED TUNNELS
We remain a day and night in our new abode before venturing out into the streets. We shall now cautiously commence a series of expeditions—one cannot call them strolls or promenades—across and round about the town. The objective-point of our first expedition is the office of our banker. We descend from the high-lying Garden Region, and enter the ruinous streets of the Medina. We are accompanied by Haj, for without a guide we should soon go astray. We are followed by Kaid Lharbi, our military escort, it being most imprudent for the foreigner to walk abroad unaccompanied by a guard. To photograph in the streets of Fez is difficult to the verge of impossibility. First, there is the Mohammedan prejudice against picture-making, the reproduction of the likeness of living things being prohibited by the Koran, which says: "Every painter is in hell-fire, and Allah will appoint a person at the day of resurrection for every picture he shall have drawn, to punish him; and they will punish him in hell. Then, if you must have pictures, make them of trees and things without souls." Had the photographer existed in Mohammed's day, he would undoubtedly have had a special verse in Scripture devoted to his case; as it is, the faithful call the camera a "painting-machine," and class its manipulator with the impious artists whose instruments of crime are brushes. Even though this difficulty may be overcome by cunning, the very streets and structures conspire with the people to foil the eager camerist. Many of these streets are vaulted tunnels, illuminated only here and there by bands of light; others are roofed by vine-covered trellises, that give them the appearance of interminable arbors, through which faint squares of light flitter and fall upon the unpaved ground; still others are so narrow and cut between such tall dark walls, that never by any chance do rays of sunshine illuminate their depths. Street life in Fez is vividly suggestive of subterranean existence. There is a dark-cellar-like coolness, which, combined with the ghostly stride and costume of the inhabitants, gives us the impression of being in the catacombs among resuscitated men in their shrouds. Ghostly indeed is the dress of the rich old men in Fez,—a dress that gives its wearers the dignity of Roman senators. What a superb figure for the ghost of Hamlet's father one well-remembered old gentleman would make! He is, however, Haj's uncle, and greets our guide, his nephew, very cordially. Haj, rascal that he is, knowing that we care more for snap-shots than for introductions, always arranges when he meets a friend or relative to detain him in conversation, in the best illuminated portion of the street, thus giving us invaluable opportunities for secret portraiture. Then, after he has heard the "click!" that comes from what appears to be an innocent brown paper parcel under my right arm, Haj, with many complimentary phrases, presents us to our visitor, introducing us as men of great distinction from America.
TRELLISED THOROUGHFARES
"AMONG RESUSCITATED MEN IN THEIR SHROUDS"
AN EXCHANGE