What, then, was the marvel across the valley, what were the "lordly pleasure-houses" to whose creation and enlargement Moulay-Ismaël returned again and again amid the throes and violences of a nearly centenarian life?
The chronicler continues: "The Sultan caused all the houses near the Kasbah[A] to be demolished, and compelled the inhabitants to carry away the ruins of their dwellings. All the eastern end of the town was also torn down, and the ramparts were rebuilt. He also built the Great Mosque next to the palace of Nasr…. He occupied himself personally with the construction of his palaces, and before one was finished he caused another to be begun. He built the mosque of Elakhdar; the walls of the new town were pierced with twenty fortified gates and surmounted with platforms for cannon. Within the walls he made a great artificial lake where one might row in boats. There was also a granary with immense subterranean reservoirs of water, and a stable three miles long for the Sultan's horses and mules; twelve thousand horses could be stabled in it. The flooring rested on vaults in which the grain for the horses was stored…. He also built the palace of Elmansour, which had twenty cupolas; from the top of each cupola one could look forth on the plain and the mountains around Meknez. All about the stables the rarest trees were planted. Within the walls were fifty palaces, each with its own mosque and its baths. Never was such a thing known in any country, Arab or foreign, pagan or Moslem. The guarding of the doors of these palaces was intrusted to twelve hundred black eunuchs."
[Footnote A: The citadel of old Meknez.]
Such were the wonders that seventeenth century travellers toiled across the desert to see, and from which they came back dazzled and almost incredulous, as if half-suspecting that some djinn had deluded them with the vision of a phantom city. But for the soberer European records, and the evidence of the ruins themselves (for the whole of the new Meknez is a ruin), one might indeed be inclined to regard Ezziani's statements as an Oriental fable; but the briefest glimpse of Moulay-Ismaël's Meknez makes it easy to believe all his chronicler tells of it, even to the three miles of stables.
Next morning we drove across the valley and, skirting the old town on the hill, entered, by one of the twenty gates of Moulay-Ismaël, a long empty street lined with half-ruined arcades. Beyond was another street of beaten red earth bordered by high red walls blotched with gray and mauve. Ahead of us this road stretched out interminably (Meknez, before Washington, was the "city of magnificent distances"), and down its empty length only one or two draped figures passed, like shadows on the way to Shadowland. It was clear that the living held no further traffic with the Meknez of Moulay-Ismaël.
Here it was at last. Another great gateway let us, under a resplendently bejewelled arch of turquoise-blue and green, into another walled emptiness of red clay, a third gate opened into still vaster vacancies, and at their farther end rose a colossal red ruin, something like the lower stories of a Roman amphitheatre that should stretch out indefinitely instead of forming a circle, or like a series of Roman aqueducts built side by side and joined into one structure. Below this indescribable ruin the arid ground sloped down to an artificial water which was surely the lake that the Sultan had made for his boating-parties; and beyond it more red earth stretched away to more walls and gates, with glimpses of abandoned palaces and huge crumbling angle-towers.
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-Ismaël 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 façades. 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-Ismaël]