is the most ancient, and the _Mesjid No_ the largest. It was indeed
originally the palace of ATTABEK SHAH, who, in a dangerous illness of
his son, consulted the _Mollahs_, and was answered, (as the only means
of the recovery of his child) that he must devote to the Almighty that,
which of all his worldly goods he valued most. He accordingly converted
his palace into a mosque, and the Mahomedans add, that his son was
in consequence restored to health. The _Mesjid Juméh_ is likewise an
ancient structure, and there are six others of an older date than the
time of KERIM KHAN. Of the more modern mosques of _Shiraz_ the _Mesjid
Vakeel_, the only one built by that Prince, is the most beautiful.
KERIM KHAN begun a college, but never finished it: there were already
six, one of the earliest of which (that founded by IMAUM KOULI KHAN)
is still the most frequented. Another was added by HAUSHEM, father of
HAJEE IBRAHIM, the Vizier of the late King; and the _Peish Namaz_ and
_Mooshtehed_ (Chief Priest of the city) built another.
The trades in Persia as in Turkey are carried on in separate _bazars_,
in which their shops are extended adjacent to each other on both
sides of the building. Before the reign of KERIM KHAN, there were
the _bazars_ of the shoemakers, tinmen, crockery-ware-dealers, and
poulterers, and about seven others: after his time the _Bazar Saduck
Khan_ was built; but the most extensive, as well as the most beautiful
of all, was that already described, founded by KERIM KHAN himself, and
called the _Bazar-a-Vakeel_.
Of the _caravanserais_, the _Kaisariéh Khonéh_, built by IMAUM KOULI
KHAN, and now in ruins, is the most ancient. There is another old
structure, which was restored from a state of great decay, and assumed
the name of its second founder ALI KHAN. There are five others, of
which one is called _daphaugaun_, or the dressers of sheep-skins for
caps; another _dakaukha_, or dyers; another _Hindoohan_, where the
Hindoos reside. These were all built before the accession of KERIM
KHAN, a date at which the splendour of _Shiraz_ revived. He added two
within the city, and one beyond the walls, and others have since been
erected.
The same Prince enriched his capital with three public baths, two
within and one without the town. Four have since been raised, but there
were already, before his reign, nineteen similar foundations.
There are several mausolea in _Shiraz_; the most distinguished of those
without the walls is that of HAFIZ: there is also beyond the city, that
of MIR ALI, son of MIRZA HAMZA, and grandson of the IMAUM MUSA.
In an evening ride we visited the environs, and, leaving the city by
the _Ispahan_ gate, crossed a bridge in very bad repair. The torrent
(over which it was thrown) in the day of CHARDIN passed through the
town; it now flows in solitude, a mournful proof of the decay of
_Shiraz_. We came to the _Mesjid Shah Mirza Hamza_, a mosque erected
by KERIM KHAN, in a separate chamber of which are laid the remains of
his son ABDUL RAKEEM KHAN. In the front court is an old and majestic
cypress. Although some parts of the fabric are in decay, it is still
beautiful. Its walls are built of the fine brick employed in all
the public works of its founder, and, indeed, in the best houses
of _Shiraz_. Its cupola is covered with green-lacquered tiles of a
semi-circular form, which, fitted in close lines, give a symmetrical
appearance of ribs to its shining surface. At the foot of the cupola,
in Persian characters, are verses from the Koran and invocations to the
prophet. Continuing our ride from this mosque, we turned out of the
fine high road, which is fifty feet broad and very even; and followed a
smaller path on the right to the _Hafizeea_ on the tomb of HAFIZ, the
most favourite of Persian poets. This monument also, in its present
state at least, is alike the work of KERIM KHAN. It is placed in the
court of a pleasure house, which marks the spot frequented by the
poet. The building extends across an enclosure: so that the front of
it, which looks towards the city, has a small court before it, and the
back has another. In the centre is an open vestibule supported by four
marble columns, opening on each side into neat apartments. The tomb of
HAFIZ is placed in the back court, at the foot of one of the cypress
trees, which he planted with his own hands. It is a parallelogram with
a projecting base, and its superficies is carved in the most exquisite
manner. One of the Odes of the Poet is engraved upon it, and the artist
has succeeded so well, that the letters seem rather to have been formed
with the finest pen than sculptured by a hard chissel. The whole is of
the diaphanous marble of _Tabriz_, in colour a combination of light
greens, with here and there veins of red and sometimes of blue. Some
of the cypresses are very large, but AGA BESHEER, the present chief of
the Queen’s eunuchs, who happened to require timber for a building, cut
down two of the most magnificent trees. This is a place of great resort
for the Persians, who go there to smoke _kaleoons_, drink coffee, and
recite verses.
After having done this, we proceeded forward, passing by the
_Chehel-ten_ or forty bodies, until we came to the _Haft-ten_ or seven
bodies, both buildings erected by KERIM KHAN to the memories of pious
and extraordinary men who lived there as _Derveishes_. The _Haft-ten_
is a pleasure house, the front of which is an enclosed garden planted
with rows of cypress and _chenar_ trees (a species of sycamore, with
a verdure like that of the plane,) and interspersed with marble
fountains. In its principal room, which is open in front and supported
by two marble columns, are some paintings, many of which represent
the sanctity of the _Derveishes’_ lives, and the ceremonies of the
self-inflicted torments of their bodies. The principal paintings are
ABRAHAM’S Sacrifice of ISAAC, on the right; on the left, MOSES keeping
the flocks of _Jethro_. In the centre is the story of SHEIK CHENAN, a
popular tale in _Shiraz_. SHEIK CHENAN, a Persian of the true faith,
and a man of learning and consequence, fell in love with an Armenian
lady of great beauty, who would not marry him unless he changed his
religion. To this he agreed: still she would not marry him, unless he
would drink wine: this scruple also he yielded. She resisted still,
unless he consented to eat pork: with this also he complied. Still
she was coy and refused to fulfil her engagement, unless he would be
contented to drive swine before her. Even this condition he accepted:
and she then told him that she would not have him at all, and laughed
at him for his pains. The picture represents the coquette at her
window, laughing at SHEIK CHENAN, as he is driving his pigs before her.
The wainscoting of this room is of _Tabriz_ marble: one of the largest
slabs is nine feet in length, and five feet in breadth.
We quitted this pretty place, and taking the road to the right came to
a magnificent garden, another evidence of the splendour of the age of
KERIM KHAN. From its founder it was called in his time _Bagh-a-Vakeel_,
but it has since acquired the name of _Bagh-e-Iehan-Nemah_. An immense
wall, of the neatest construction, encloses a square tract of land,
which is laid out into walks, shaded by cypress and _chenar_ trees,
and watered by a variety of marble canals and small artificial
cascades. Over the entrance, which is a lofty and arched passage, is
built a pleasure-house. It consists of a centrical room with a small
closet at each corner. The ornaments and paintings with which it is
embellished, are more rich and more elegant than I can describe. The
wainscot is of _Tabriz_ marble, and inlaid with gold and ornamental
flowers, birds, and domestic animals. The panels of the doors are
beautiful paintings, with the richest and most brilliant varnish; and
the ceiling and walls are all parcelled out into compartments, which
display equal execution. From the window I took a sketch of the tomb
of HAFIZ, which lay contiguous to it on the left hand. The town of
_Shiraz_, with all its campagna, was full before my sight; whilst the
setting sun threw the softest and most beautiful tints over the fine
scenery of the surrounding mountains. (See Plate XIV.) In the centre
of the _bagh_ or garden is another of the principal pleasure-houses,
which they call _koola-frangee_ or Frank’s hat, because it is built
something in the shape of one. There is a basin in the middle of the
principal room, where a fountain plays and refreshes the air. The
paintings and ornaments are not less beautiful and are more varied,
than those of the last described building. The cornices are laid out
into small compartments, where the painter has exerted his genius and
fancy in delineating the most fantastical little pictures. Here are
hunts of lions, there the combats of elephants and dragons: in one
corner are dancing bears and monkies, in another are represented the
heroes and heroines of fairy tales. The whole procession and amusements
of a marriage are drawn in one compartment, and next to them all the
ceremonies of a circumcision. In short, if the painter’s art had been
equal to his fancy, these different compositions would have excited as
much admiration as they now afforded amusement. The whole soil of this
garden is artificial, having been excavated from the area below, and
raised into a high terrace. The garden is now falling into decay; but
those who saw it in the reign of KERIM KHAN delight to describe its
splendour, and do not cease to give the most ravishing pictures of the
beauty of all the environs of his capital.
[Illustration:
_Tomb of Hafiz._ _Mesjid Shah Mirza Hamza._
_Sheraz._
_Drawn by James Morier Esq^r._
_Published by Mess^{rs}. Longman, Hurst, Rees, Orme & Brown,
Paternoster Row, May 1, 1811._]
Having enjoyed the present remains of the scene, we returned to the
high road (on the right of which it is situated) and followed it to
the _Tengui-Ali-Acbar_, a fortified pass in the time of the greatness
of _Shiraz_, and long indeed before that time. Here are the remains of
that gate, of which LE BRUN in his travels has given a very correct
drawing. From the situation in which I sketched the ruin, I fancy
that I must have rested upon the very stone where LE BRUN took his
view: and there is only that difference between the two, which
unfortunately exists in the real scene; that mine presents devastation,
where his picture displays life and cultivation. An old _Derveish_
now lives in a small cell close to the ruined gate, and refreshes the
passing stranger with a cup of pure water. The remaining walls and
turrets, which are nearly attached to the gate on the _Shiraz_ side,
still attest the artificial strength of the pass in former days; and
the formation of the lands around points it out as a spot which the
modern perfection of military art would render an almost impregnable
hold.
The _Takht-a-Cadjar_ is a pleasure-house about a mile and a half
East of the town, erected by the present Family, and situated in an
enclosed garden of about twenty acres. It is built on a rock, but is
much inferior indeed both in solidity and ornament, to any of the works
of KERIM KHAN. From the upper window of one of its rooms, I took a
view of the city, which extended itself beautifully before me. This
pleasure-house is much visited by the Prince; on the left side of it he
has an enclosed place in which he keeps antelopes and other game. From
the quantity of water which runs through it, the garden itself must be
most luxuriant in vegetation, and in summer a most delightful spot.
1st January, 1809. The first day of the new year was fixed for our
visit to the Prince. On the day appointed, accordingly Sir HARFORD,
preceded by our _Mehmandar_, and followed by the gentlemen of his
Mission and the body guard, paraded through the town as on the day of
our entry, until we reached the gate of state. The streets were filled
as before, and the _bazars_ displayed all their wealth. The first gate
introduced us immediately from the _bazar_ into the first court of the
palace. The breadth and length of this court were of large and fine
proportions. The high summits of its walls were crowned with arched
battlements, the planes of which were worked in a species of close
lattice. We proceeded through this court into another, the spacious
area of which seemed to form a complete square. Its magnificent walls
were covered in regular compartments with various implements of war
arranged in distinct niches. Among them (besides spears, muskets, &c.
and the small ensigns of their service) were the brass guns, called
_zomboorek_, which are mounted on the backs of camels. Along the range
stood soldiers in uniforms of scarlet cloth, an awkward imitation of
the Russian military dress.
About thirty paces from the principal gate Sir HARFORD dismounted, and
followed by us all, whilst the trumpet of the troop sounded the salute,
advanced through the portico. Here the _Ish Agassi_, or Master of the
Ceremonies, BAIRAM ALI KHAN CADJAR, who had been seated in a small
place opposite the entrance, rose at our approach to meet us. He then
called for his staff of office, (a black cane with a carved pummel) and
placing himself at the head of the party, led us through rather a mean
passage into a spacious court, at the extremity of which appeared the
Prince. He was seated in a kind of open room, the front of which was
supported by two pillars elegantly gilded and painted. This is called
the _Dewan Khonéh_, or Chamber of Audience.
In the centre of the court is an avenue of lofty trees, at the sides of
which are two long canals: these numerous fountains threw up a variety
of little spouts of water, to the jingle of the wheels and bells of
their machinery. On all sides of the court were placed in close files
a number of well dressed men armed with muskets, pistols, and swords;
these were the subalterns and the better sort of the soldiery in the
Prince’s guard. Amongst them were here and there intermixed officers of
high rank. In the centre of the avenue, and on the borders of the canal
stood in long rows, respectfully silent and in postures of humility,
all the chief Officers, Khans, Governors of towns and districts.
When we entered the court, the _Ish Agassi_ stopt and made a very low
obeisance towards the Prince; and Sir HARFORD and his Mission made an
English bow, and just took off their hats. These salutations, which
were made four times in as many different places of the court, were
repeated as we entered the _Dewan Khonéh_. The Prince in all this
looked at us, but did not stir a muscle: we now proceeded straight
forwards until Sir HARFORD faced the Prince, where he was then directed
to sit, and we all took our stations in order. When we were seated,
the Prince said in a loud voice, “_Khosh Amedeed_,” that is, “you are
welcome;” which was repeated by NASR OALLAH KHAN his Minister, who
stood at about five paces from him in an attitude of respect. Sir
HARFORD made the compliments required, when the Prince desired us to
sit at our ease. We however, as in a former instance, chose to be
respectful and uncomfortable, and to continue in the fashion of Persia.
The Prince then added a variety of flattering things, talked of the
friendship of the two nations, said how anxious his Father was to
see the Embassador, and advised him to proceed to his court without
delay. We had _kaleoons_, then coffee, and then (a compliment not
repeated to a common guest) another _kaleoon_. After this was over, we
got up, and making an obeisance, quitted the Prince’s presence with
every precaution not to turn our backs as we departed. The same number
of bows, repeated in the same places as on our entrance, closed the
audience.
ALI MIRZA, the Prince of _Shiraz_, is not the least amiable of the
King’s sons. After Prince ABBAS MIRZA, the Governor of _Aderbigian_,
and the Heir of the crown, he is his father’s greatest favourite. In
person he is an engaging youth of the most agreeable countenance and
of very pleasing manners. His dress was most sumptuous; his breast was
one thick coat of pearls, which was terminated downwards by a girdle
of the richest stuffs. In this was placed a dagger, the head of which
dazzled by the number and the brilliancy of its inlaid diamonds. His
coat was rich crimson and gold brocade, with a thick fur on the upper
part. Around his black cap was wound a _Cashmire_ shawl, and by his
side, in a gold platter, was a string of the finest pearls. Before him
was placed his _kaleoon_ of state, a magnificent toy, thickly inlaid
with precious stones in every distinct part of its machinery. To me the
Prince appeared to be under much constraint during the ceremony of
our audience; in which he had been previously tutored by his minister:
and I very easily believe, according to the stories related of him,
that he exchanges with eagerness these etiquettes of rank for the less
restrained enjoyments of his power. On these he lavishes his revenue;
and in the costliness of a hunting equipage, the fantasies of dress,
and the delicacies of the _Harem_ are frittered away a hundred thousand
_tomauns_ a year. Young as he is, (for he is only nineteen) he has
already a family of eight children. In his public government he is much
beloved by his people; and although the Persians are not inclined in
conversation to spare the faults of their superiors, of him I never
heard an evil word. He has not indeed those sanguinary propensities,
which are almost naturally imbibed in the possession of despotic power;
and where others cut off ears, slit noses, and pierce eyes, he contents
himself with the administration of the more lenient bastinado.
NASR OALLAH KHAN is appointed by the King to remit to the court of
_Teheran_ any surplus revenue; an office probably neither easy to the
Minister, nor acceptable to the Prince, whose immense and splendid
establishments exact a very liberal proportion of the whole receipts of
the province. In his actual service and pay the Prince has only a force
of one thousand cavalry, of which two hundred (the quota furnished by
the _Baktiar_ tribe) form his body guard; but in an emergency he could
sent to the war twenty thousand horsemen. His troops provide their own
arms and clothing, and they receive annually in pay forty piastres, and
a daily allowance of one maun (seven pounds and a quarter) of barley,
two mauns of straw, and a quarter of a maun of wheat, except in spring
when their horses feed on the new herbage. They have further, each
in his own country, for the maintenance of their families, a certain
allotment of land, which they till and sow, and of which they reap
the annual fruits. When a new levy is ordered, the head of each tribe
brings forward the number which the state has required of him.
4th. At about one hour before sun-set, we repaired to the house of
the Minister, to partake of an entertainment which was given to the
Envoy. We had scarcely dismounted from our horses at the Minister’s
gate, when the crowd, anxious to obtain admission, rushed forward, and
long impeded the passage of the suite; until our _Mehmandar_ himself
commanded respect by administering a volley of blows with a stick on
the heads of the surrounding multitude. As soon as the Envoy entered
the court, (which appeared from the numbers already pressed into it, to
be the scene of the amusement), the Persian music struck up, and a rope
dancer, whose rope stood conspicuous in the centre, begun to vault into
the air.
ABDULLAH KHAN, the Minister’s Son, conducted us into the presence of
his father, where we soon ranged ourselves among a numerous company of
the Nobles of the place, who were invited to meet us. ABDULLAH KHAN,
who is a man of about thirty, and a person of much consequence at
_Shiraz_, never once seated himself in the apartment where his father
sat, but, according to the Eastern customs of filial reverence, stood
at the door like a menial servant, or went about superintending the
entertainments of the day. As soon as we were settled, the amusements
commenced; and at the same moment the rope-dancer vaulted, the dancing
boys danced, the water-spouter spouted, the fire-eater devoured fire,
the singers sung, the musicians played on their _kamounchas_, and the
drummers beat lustily on their drums. This singular combination of
noises, objects and attitudes, added to the cries and murmurs of the
crowd around, amused, yet almost distracted us.
The rope-dancer performed some feats, which really did credit to his
profession. He first walked over his rope with his balancing pole,
then vaulted on high; he ascended the rope to a tree in an angle of
forty-five degrees? but, as he was reaching the very extremity of the
upper range of the angle, he could proceed no further, and remained in
an uncertain position for the space of two minutes. He afterwards tied
his hands to a rope-ladder of three large steps; and, first balancing
his body by the middle on the main line let fall the ladder and
himself, and was only brought up by the strength of his wrists thus
fastened to their support. He next put on a pair of high-heeled shoes,
and paraded about again; then put his feet into two saucepans, and
walked backwards and forwards. After this he suspended himself by his
feet from the rope; and, taking a gun, deliberately loaded and primed
it, and, in that pendant position, took an aim at an egg (placed on the
ground beneath him) and put his ball through it. After this he carried
on his back a child, whom he contrived to suspend, with his own body
besides, from the rope, and thence placed in safety on the ground. His
feats were numerous (and as he was mounted on a rope much more elevated
than those on which such exploits are displayed in England), they were
also proportionably dangerous. A trip would have been his inevitable
destruction. He was dressed in a fantastical jacket, and wore a pair
of breeches of crimson satin, something like those of Europeans. The
boys danced, or rather paced the ground, snapping their fingers to keep
time with the music, jingling their small brass castanets, and uttering
extraordinary cries. To us all this was tiresome, but to the Persians
it appeared very clever. One of the boys having exerted himself in
various difficult leaps, at last took two _kunjurs_ or daggers, one in
each hand; and with these, springing forwards, and placing their points
in the ground, turned himself head over heels between them; and again,
in a second display, turned himself over with a drawn sword in his
mouth.
A negro appeared on the side of a basin of water (in which three
fountains were already playing), and, by a singular faculty which he
possessed of secreting liquids, managed to make himself a sort of
fourth fountain, by spouting water from his mouth. We closely observed
him: he drank two basins and a quarter of water, each holding about
four quarts, and he was five minutes spouting them out. Next came an
eater of fire: this man brought a large dish full of charcoal, which
he placed deliberately before him, and then, taking up the pieces,
conveyed them bit by bit successively into his mouth, and threw them
out again when the fire was extinguished. He then took a piece, from
which he continued to blow the most brilliant sparks for more than half
an hour. The trick consists in putting in the mouth some cotton dipped
in the oil of Naptha, on which the pieces of charcoal are laid and from
which they derive the strength of their fire: now the flame of this
combustible is known to be little calid. Another man put into his mouth
two balls alternately, which burnt with a brilliant flame, and which
also were soaked in the same fluid.
The music was of the roughest kind. The performers were seated in a row
round the basin of water; the band consisted of two men, who played the
_kamouncha_, a species of violin; four, who beat the tamborin; one, who
thrummed the guitar; one, who played on the spoons; and two who sung.
The loudest in the concert were the songsters, who, when they applied
the whole force of their lungs, drowned every other instrument. The man
with the spoons seemed to me the most ingenious and least discordant
of the whole band. He placed two wooden spoons in a neat and peculiar
manner betwixt the fingers of his left hand, whilst he beat them with
another spoon in his right.