The mosques built anterior to that of Suyurghatmish (A.D. 1356) were decorated in plaster. The rosette (Fig. 342) shows a transitional piece of work of great beauty, that looks like a copy in stone of low-relief plaster-work, and has every sign of a Byzantine-like origin, seen more especially in the leaf-like markings and general treatment of the six large central flowers; the interlacing and other details are also Byzantine. It is quite likely that this example was designed by a Christian Coptic artist, as, indeed, nearly all the Saracen art in Egypt of this period was designed by Coptic Egyptians. Compare with this the illuminated Korān of the Sultan Sha’ Ban, of a year or two later (A.D. 1368). All the floral work in this is distinctly Persian in character, without any reminiscence of Byzantine, but shows rather a Chinese or Indian influence (Fig. 360). It is probably copied from a Persian embroidery.
Fig. 360.—Illuminated Korān of the Sultan Sha’ Ban; Fourteenth Century. (L.-P.)
Another example of Saracenic ornament is the stone sculptured decoration from the portal of the mosque of Sultan Hasan, in Cairo (A.D. 1358), (Fig. 361). From being carved in stone the ornament is much stiffer than the two previous examples, but it is more thoroughly Saracenic or Arabian than either of them; the large flower-like forms in elevation are evidently developments of the Assyrian form of the lotus, and have here almost the form of the fleur-de-lis. This type of design was successfully developed in the Moresque diapers of the Alhambra, where the conventional leaves and flower forms were mixed with Saracenic inscriptions, and were redeemed from their aridity by the almost sensuous character of the colouring, which has a combination of red, blue, white, and gold, and further by the superimposed planes of the ornamental composition (see Fig. [343]). It may be noticed that some of the leaf-work in these diapers have a feather-like decoration, which gives richness and variety to the ornament: these markings are evidently derived from the parallel veining of Byzantine acanthus leaf-work. The larger strap-work running through is interlaced in the form of pointed and horseshoe arches, which makes the ornament in appropriate harmony with the Moorish architecture, while the flat treatment of the whole is distinctively characteristic of all Saracenic ornament.
Fig. 361.—Ornament from the Portal of Sultan Hasan.
Two examples of Mnemonic ornament are given at Figs. 362 and 363. The former is a Kufic inscription arranged so as to form a band ornament. This is in the angular and older form of writing. The latter is an example of the cursive Arabian hand which was more generally adopted, and is termed the Vaskhy: it is more round and flowing than the Kufic. The typical feather ornament forms a background to most of these inscriptions.
Fig. 362.—Kufic Writing, from the Alhambra.
