In the Saracenic, as the elder sister of the two styles, which was ingeniously developed by the Byzantine Greek artists for their Arabian masters in the early times of Mahommedan conquest, every natural object was proscribed; the artists were, therefore, reduced to making symmetrical designs from forms which should have no positive meaning; yet the Byzantine Greeks, who were Christians, managed to work even their own ecclesiastical symbols, in a disguised manner, into their tracery and diapers; as the lily, for instance. The cross was not so introduced; this, of course, was inadmissible; but neither was the crescent ever introduced into any of this early work in Damascus or Cairo. The crescent was itself not a Mahommedan device till after the conquest of Constantinople in 1453 A.D. The crescent, as the new moon, was the symbol of Byzantium; and it was only after that capital of the Eastern empire fell into the hands of the Turks that this symbol was adopted by them. The crescent and the cross became antagonist standards, therefore, first in the 15th century. And the crescent is not an element of original Moorish decoration.
The Alhambra diapers and original Majolica (Majorca) ware afford admirable specimens of genuine Saracenic or Moorish decoration. A conventional floriage is common in these diapers; tracery also is a great feature in this work, in geometrical combinations, whether rectilinear or curvilinear; and the designs are rich in colour; idolatry was in the reproduction of natural forms, not in the fanciful combination of natural colours. These curves and angles, therefore, or interlacings, chiefly in stucco, constitute the prominent elements of an Arabian ornamental design, combining also Arabic inscriptions; composed of a mass of foliation or floral forms conventionally disguised, as the exclusion of all natural images was the fundamental principle of the style in its purity. The Alhambra displays almost endless specimens of this peculiar work, all in relief, highly coloured, and profusely enriched with gold. The mosque of Tulun, in Cairo, A.D. 876, the known work of a Greek, affords the completest example of this art in its early time; and Sicily contains many remains of this same exquisite Saracenic decoration.
Such is the genuine Arabesque of the Arabs, but a very different style of design is implied by the Arabesque of the cinquecento, a purely classical ornamentation. This owes its origin to the excavation and recovery of ancient monuments, and was developed chiefly by the sculptors of the north, and the painters of central Italy; by the Lombardi of Venice, by Agostino Busti of Milan, by Bramante of Urbino, by Raphael, by Giulio Romano, and others of nearly equal merit. Very beautiful examples in sculpture of this cinquecento Arabesque are found in the churches of Venice, Verona and Brescia; in painting, the most complete specimens are those of the Vatican Loggie, and the Villa Madama at Rome and the ducal palaces at Mantua. The Vatican Arabesques, chiefly executed for Raphael by Giulio Romano, Gian Francesco Penni, and Giovanni da Udine, though beautiful as works of painting, are often very extravagant in their composition, ludicrous and sometimes aesthetically offensive; as are also many of the decorations of Pompeii. The main features of these designs are balanced scrolls in panels; or standards variously composed, but symmetrically scrolled on either side, and on the tendrils of these scrolls are suspended or placed birds and animals, human figures and chimeras, of any or all kinds, or indeed any objects that may take the fancy of the artist. The most perfect specimens of cinquecento Arabesque are certainly found in sculpture. As specimens of exquisite work may be mentioned the Martinengo tomb, in the church of the Padri Riformati at Brescia, and the façade of the church of Santa Maria del Miracoli there, by the Lombardi; and many of the carvings of the Château de Gaillon, France—all of which fairly illustrate the beauties and capabilities of the style.
See also Wornum, Analysis of Ornament (1874).
(R. N. W.)
ARABGIR, or Arabkir (Byz. Arabraces), a town of Turkey in Asia in the Mamuret el-Aziz or Kharput vilayet, situated near the confluence of the eastern and western Euphrates, but some miles from the right bank of the combined streams. Pop. about 20,000, of which the larger half is Mussulman. It is connected with Sivas by a chaussée, prolonged to the Euphrates. The inhabitants are enterprising and prosperous, many of them leaving their native city to push their fortunes elsewhere, while of those that remain the greater part is employed in the manufacture of silk and cotton goods, or in the production of fruit. The present town was built at a comparatively recent date; but about 2 m. north-east is the old town, now called Eski-Shehr, given (c. 1021) to Senekherim of Armenia by the emperor Basil II. It contains the ruins of a castle and of several Seljuk mosques. The Armenian population suffered severely during the massacres of 1895.
(D. G. H.)