In part, this is thrust upon them by the sun. The interiors of houses are all Rembrandt work, as Conder has happily remarked. The rooms are dark, and the windows very small. But when the sun shines through the apertures, their rich brown rafters and red pottery gleam out of the shadow. One such interior is especially memorable, where a bar of intense sunlight lit up the skin and many-coloured garments of children sitting in the window-sill, while through the open door the green grass of the courtyard shone. Still more wonderful is the effect when one opens the door of a silk-winding room in sunlight, and sees the colours wound on the great spindles, or when one enters the dark archways of the bazaars where long shafts of light striking down slantwise upon a shining patch below turn the brown shadow of the arch to indigo. The natives see this, and love the lusciousness of it. They build minarets cased with emerald tiles, or domes of copper which will soon be coated with verdigris. Of late years a further touch has been added in the red-tiled roofs which are already so popular in the towns.
In proof of the genius of the Easterns for colour, nothing need be mentioned but their carpets and their glass. The glass of old windows in mosques beggars all description. It is an experience rather than a spectacle. The panes are so minute, and so destitute of picture or of pattern, that they are unnoticed in
CANA OF GALILEE.
This is the village of Kafr Kenná, believed to be the Cana of the New Testament, where our Lord performed His first miracle at the marriage feast.
detail, and the general effect is that of a religious atmosphere in which all one’s ordinary thoughts and feelings are lost in the overpowering sense of “something rich and strange.” After the magic of that light, with its blended purple and amber and ruby, the finest Western work seems harsh. It is hardly light; it is illuminated shadow. The rugs and carpets, with their intricate colouring, are more familiar and need not be described. The finest of them are of silk, and their delicacy of shade is marvellous. The patterns constantly elude the eye, promising and just almost reaching some recognisable figure, only to lose themselves in a bright maze. It is said that they were suggested by the meadows of variegated flowers; but they are intenser and more passionate—as if their designers had felt that their task was to supply an even stronger counterpart to the faint landscape.
The gay clothing of the East is proverbial. Even the poorest peasants are resplendent. “Fine linen” is still the mark of the rich man, but Lazarus can match him for “scarlet.” In certain parts the men are clad in coats of sheepskin, the wool being inside, and protruding like a heavy fringe along the edges. Almost everybody’s shoes are bright red. In one place we saw a shepherd whose sheepskin coat had met with an accident, and the patch which filled the vacant space in the raw brown back of him was of an elaborate tartan cloth. In another village all the men wore crimson aprons. When our camp-servants were on the march they seemed to be in sackcloth, or in thick grey felt which suggested fire-proof apparel; but when they reached a town they blossomed out into a rainbow. Children playing in a village street, women at the wells, statuesque shepherds standing solitary in the fields, all seemed arranged as for a tableau. Everybody official—the railway guard, the escort, even the mourner at a funeral—is immensely conscious of his dignity; and on him descends the spirit of Solomon in all his glory. The man you hire to guide you for a walk of half a dozen miles will disappear into his house and emerge in gorgeous array. One of our guides decked himself in flowing yellow robes and marched before us ostentatiously carrying in front of him a weapon which appeared to be a cross between a carving-knife and a reaping-hook, through a land peaceful as an infant school. A procession marching to some sacred place across a plain lights the whole scene as with a string of coloured lanterns. Even where the natives have adopted European dress the fez is retained, and a crowd of men, seen from above, is always ruddy.
The delight in strong colour goes even one step farther. The rich hues of the flesh in sunny lands seem to suit the landscape, and one soon learns to sympathise with the native preference for dusky and brown complexions. To them a fair skin appears leprous, though bright flaxen or auburn hair are regarded with great admiration. Not satisfied, however, with their natural beauty, the Syrians paint and tattoo their flesh in the most appalling manner, and redden their finger-nails with henna. Fashionable ladies, and in some places men also, paint their eyebrows to meet, and touch in their eyelids with antimony, whose blue shadow is supposed to convey the impression of irresistible eyelashes. In towns where “the Paris modes” are the sign of smartness, some of the girls paint their faces pink and white—faces painted with a vengeance, with a thick and shining enamel which transforms the wearers into animated wax dolls of the weirdest appearance. But that which shocks the unsophisticated traveller most is the tattooing of many of the women. Some of them are marked with small arrow-head blue patches on forehead, cheeks, and chin; others are lined and scored like South Sea Islanders, and their lower lips transformed entirely from red to blue.
All this is savage enough, but it illustrates in its own crude way that delight in strong colour which transforms the human life of the East into such a vivid foreground to the faint landscape. In the dress there is artistic instinct as well as barbaric splendour, and in the carpets, the mosaics, and the glass there is brilliant and matchless artistry. As to the general principle which has been stated in regard to natural colouring, this is as it always must have been. These were the quiet hues of the land, and these the brilliant points of strong light in it which Christ’s eyes saw, and which gave their colour to the Gospels.