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of a Fatimid caliphate (named Fatimid, for a daughter of Mohammed). This event presaged a religious as well as a political change, for the Fatimids were apostates from the true faith and advocated the doctrines of Shi'a, one of the tenets being that the Koran had been created, and another that there had been Mohammeds or inspired men in every century. Shi'a now became the State religion, and for two centuries held sway over Egypt.

      This period was famous for palace building, and the descriptions of the magnificence and luxurious furnishings read like a fairy tale. Mosque building was not neglected, and there are two notable examples of the congregational form, El Azhar and El Hâkim. El Azhar was founded by Gauhar on April 3, 970, and in 988 it was especially devoted to the uses of learning. It soon became one of the chief universities of the time, and in 1101 there were nine thousand students and two hundred and thirty-nine professors. The foreign students even now pay no fee and are allowed rations of food, there being an endowment for this purpose. It is, however, still used to a certain extent as a mosque; but it does not now preserve the regular plan of a mosque, having been remodelled and added to several times. It has six minarets and a spacious court covering three thousand six hundred square yards, with one hundred and forty columns and numerous side chambers which are devoted to lectures, libraries, and laboratories.

      At the time of our visit this court was filled with individual groups of about thirty students, each around a professor; they were sitting cross-legged on the floor, and were chanting their lessons with a swaying motion of the body. A class of small children was of special interest, studying passages of the Koran from cards. The Mosque of El Hâkim was completed in 1013, and was so resplendent throughout that it was known as the "Brilliant." This mosque has suffered more indignities than even the old Amr, but the vast, empty court, with its partly ruined arches, still has a certain dignity. There were originally five minarets.

The interior of the Tomb Mosque of Kalaûn

      Leaving the Mosque of El Hâkim on the right, we have Bâb El-Futûh, the Gate of Capture, which is connected by the city wall with the companion Bâb En-Nasr, or Gate of Victory. These two gates guard the strong northeast extremity of the old city fortifications, and in 1799 formed a strong position for the troops of Napoleon. With Bâb Zuweyler, they are the most important of the sixty gates which once existed in the wall of Cairo. They have an inner and outer entrance and resemble a Roman gateway.

      The Fatimid rulers outvied each other in embellishing Kâhira with artistic structures; this seems surprising because, on account of the charge of heresy, Kâhira was cut off from the Arabian centres of art and learning—from Bagdad, Damascus, and Cordova—and of course the artists and students, who formerly frequented the mosques, could not do so when they were in the hands of heretics. This condition of affairs, together with other causes, produced a crisis, as will be seen.

      The advance of Amalric and the Crusaders, in 1168, not only resulted in the downfall of the Fatimids, but in the destruction of old Fustât, Shawar, the ruler, having issued a mandate for it to be burned in order to prevent the city from becoming a refuge for the Crusaders. The fire lasted fifty-five days, and the city in all its magnificence, having been the metropolis for five centuries, perished, a portion of the old Mosque of Amr alone remaining. Kâhira then took its place as the official centre of Egypt.

      Saladin, the King of Jerusalem, now became ruler of Egypt, and he at once adopted strong measures to win the apostates back to the true faith. With a wisdom far in advance of his time, he planned to educate the followers of Shi'aism by the introduction of madrasah mosques and colleges. Heretofore we have had the Gami, or congregational mosque, with a severely plain exterior. The madrasah mosques of this period contained a smaller court, which was frequently capped with a cupola in the centre; the sides of the court, instead of being surrounded by arcades, were formed of four transepts, each spanned by a single lofty arch. The transept toward the east was deeper than the others, forming the niche for prayer; it was also furnished with the usual mihrab, pulpit, and tribunal. Fine façades, minarets, and domes took the place of the usual plain exterior; the dome was generally utilized as the covering of a tomb or was intended for future memorial use. The religious exercises (daily prayers, except on Friday, with sermons) were in the nature of a school training in the interest of the true Mohammedan faith.

      The exterior of the madrasah college was not unlike the mosque described, but the interior included facilities for theological lectures, together with classrooms and libraries for general study; the students were received on the very terms described in connection with the university Mosque of El Azhar. These, in general, were the means employed by Saladin to win all back to the true faith; in time he was successful, and Kâhira no longer rested under the stigma of heresy.

      The dignity of the Fatimid age was lowered by Saladin's quartering the officers of his army in the magnificent palaces, while he occupied the house of the Viziers. Shortly every monument of the brilliant Fatimid period had vanished, with the exception of four mosques and the three gates previously alluded to. Saladin, however, inaugurated a new era of building, and during his nominal reign of twenty-four years three mosques and sixteen colleges attest his zeal to the "cause." He also built the citadel, and the great wall which was to enclose not only Kâhira but the remains of the old cities. To him the present city of Cairo owes its form and extent.

      The tomb Mosque of Kalaûn was built in 1279 by the ruler of that name, and is adjacent to the fine hospital, bearing the same name also; while not large, it contains exquisite examples of wood carving, marble mosaic, and plaster ornament worked in by hand. Seventy-seven years later, in 1356, we find that, in the Mosque of Sultan Hasan, the sculpture was in stone; hence, the material being unyielding, the designs are geometrical, instead of arabesque, as in the plaster. This is one of the most important mosques of any age, and is the most characteristic of the madrasah form. Seen from without, the walls appear even higher than the accredited one hundred and thirteen feet; they are built of fine cut stone, from the pyramids, and windows relieve the monotony of bare surface. There is a fine portal, set in an arched niche sixty-six feet high, which is decorated with geometrical designs and which has corner columns and capitals. The interior gives one an impression of immense size, on account of the great span of the four arches; the one at the east end is ninety feet high and seventy feet wide, and is unequalled. The mosaics and marbles, however, are less artistic than in the later mosques. The tomb chamber, entered from the east, has a finely decorated door of brass, and is encircled by a marble dado, twenty-five feet high, above which is a verse from the Koran carved in wood. In the centre of the room is the grave of the founder. The original dome fell in 1660, and was replaced by an inferior one; there were to have been four minarets, but these collapsed also. The court is well proportioned and contains an artistic fountain for ablution.

Fountain in the Mosque of Sultan Hasan

      We saw the bronze lantern and many of the enamelled glass lamps in the Arabian Museum, which forms a depository for ancient works of art; the mosque has suffered greatly from devastation and abuse, but it still retains a prestige among its class that not even time can efface. It is said that Sultan Hasan was so delighted with the edifice that he ordered the architect's hands cut off, for fear he might duplicate his success—an act committed presumably on the principle that "the end justifies the means."

      The Circassian as well as the Turkish Mamelukes were great builders of mosques and colleges, particularly Sultan Barkûk (1382–1399) and Sultan Kâït Bey (1468–1496). Their edifices are marvels of artistic skill, and, by the time of Kâït Bey, perfection seemed almost to have been reached. This is particularly true of the tomb mosques, situated in the mausolea on the east side of the city, and known as the Tombs of the Khalifs. That of Barkûk is noticeable, on account of its two superb domes, its two minarets, and a carved pulpit, the latter erected by Kâït Bey. The Mosque of Kâït Bey is, however, the finest of the group; it has a lofty dome, adorned with bands of sculpture, minarets with galleries, and bronze doors. There are beautiful ivory carvings over the tomb, while the edifice is lighted by fifty colored glass windows. Near by, the smaller modern tomb mosque of the Khedive Tewfik (the father

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