LETTER XIII
Julfa, April 29.
Each day has been completely filled up since I wrote, and this is probably the last here. My dear old Cabul tent, a shuldari, also Indian, and a servants' tent made here on a plan of my own, are pitched in one of the compounds to exercise the servants in the art, and it really looks like going after many delays.
A few festivities have broken the pleasant monotony of life in this kindly and hospitable house—dinner parties, European and Armenian; a picnic on the Kuh Sufi, from which there is a very fine panoramic view of the vast plain and its surrounding mountains, and of the immense ruins of Isfahan and Julfa, with the shrunken remains of both; and a "church picnic."
From Kuh Sufi is seen how completely, and with a sharp line of definition, the arid desert bounds the green oasis of cultivated and irrigated gardens which surround the city, and which are famous for the size and lusciousness of their fruit. From a confusion of ruinous or ragged walls of mud, of ruined and modern houses standing complacently among heaps of rubbish, and from amidst a greenery which redeems the scene, the blue tiled dome of the Masjid-i-Shah, a few minarets, and the great dome of the Medresseh, denuded of half its tiles, rise conspicuously. Long lines of mud streets and caravanserais, gaunt in their ruin, stretch into the desert, and the city once boasting of 650,000 inhabitants and a splendid court survives with a population of less than 80,000 at the highest estimate.
The "church picnic" was held in a scene of decay, but 260 people, with all the women but three in red, enlivened it. It was in the grounds of the old palace of Haft Dast, in which Fatteh Ali Shah died, close to one of the three remarkable bridges of Isfahan, the Pul-i-Kajū. These bridges are magnificent. Their construction is most peculiar, and their roadways being flat they are almost unique in Persia.
The Pul-i-Kajū, though of brick, has stone piers of immense size, which are arched over so as to form a level causeway. On this massive structure the upper bridge is built, comprising a double series of rooms at each pier with doorways overlooking the river, and there are staircases and rooms also in the upper piers.
The Chahar Bagh bridge is also quaint and magnificent, with its thirty-three arches, some of them very large, its corridors for foot passengers, and chambers above each pier, each chamber having three openings to the river. These bridges have a many-storied look, from their innumerable windows at irregular altitudes, and form a grand approach to the city.
As at first, so now at last the most impressive thing to me about the Zainderud next to its bridges is the extent to which rinsing, one of the processes of dyeing, is carried on upon its shingle flats. Isfahan dyed fabrics are famous and beautiful, heavy cottons of village make and unbleached cottons of Manchester make being brought here to be dyed and printed.