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tents of the chiefs, and other specimens of Arab art. One room reproduces a barber's shop in the bazaar, its benches covered with fine matting, the hanging mirror inlaid with mother-of-pearl, the razor-handles of silver niello. The horseshoe arches of the outer gallery look out on orange-blossoms, roses and the sea. It is all beautiful, calm and harmonious; and if one is tempted to mourn the absence of life and local colour, one has only to visit an abandoned Medersa to see that, but for French intervention, the charming colonnades and cedar chambers of the college of the Oudayas would by this time be a heap of undistinguished rubbish—for plaster and rubble do not "die in beauty" like the firm stones of Rome.

      V

      ROBINSON CRUSOE'S "SALLEE"

      Before Morocco passed under the rule of the great governor who now administers it, the European colonists made short work of the beauty and privacy of the old Arab towns in which they established themselves.

      On the west coast, especially, where the Mediterranean peoples, from the Phenicians to the Portuguese, have had trading-posts for over two thousand years, the harm done to such seaboard towns as Tangier, Rabat and Casablanca is hard to estimate. The modern European colonist apparently imagined that to plant his warehouses, cafés and cinema-palaces within the walls which for so long had fiercely excluded him was the most impressive way of proclaiming his domination.

      

      Under General Lyautey such views are no longer tolerated. Respect for native habits, native beliefs and native architecture is the first principle inculcated in the civil servants attached to his administration. Not only does he require that the native towns shall be kept intact, and no European building erected within them; a sense of beauty not often vouchsafed to Colonial governors causes him to place the administration buildings so far beyond the walls that the modern colony grouped around them remains entirely distinct from the old town, instead of growing out of it like an ugly excrescence.

      Within the walls, the magic persists: which does not always happen when one penetrates into the mirage-like cities of Arabian Africa. Salé has the charm of extreme compactness. Crowded between the river-mouth and the sea, its white and pale-blue houses almost touch across the narrow streets, and the reed-thatched bazaars seem like miniature reductions of the great trading labyrinths of Tunis or Fez.

      Everything that the reader of the Arabian Nights expects to find is here: the whitewashed niches wherein pale youths sit weaving the fine mattings for which the town is still famous; the tunnelled passages where indolent merchants with bare feet crouch in their little kennels hung with richly ornamented saddlery and arms, or with slippers of pale citron leather and bright embroidered babouches; the stalls with fruit, olives, tunny-fish, vague syrupy sweets, candles for saints' tombs, Mantegnesque garlands of red and green peppers, griddle-cakes sizzling on red-hot pans, and all the varied wares and cakes and condiments that the lady in the tale of the Three Calanders went out to buy, that memorable morning in the market of Bagdad.

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