The Mediterranean: Its Storied Cities and Venerable Ruins. Allen Grant

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СКАЧАТЬ the Mooskee at Cairo, indeed, I know no place yet left where you can see Oriental life in perfection as well as the old town of Algiers. For are there not tramways nowadays even in the streets of Damascus? Has not a railway station penetrated the charmed heart of Stamboul? The Frank has done his worst for the lower town of his own building, but the upper town still remains as picturesque, as mysterious, and as insanitary as ever. No Pasteur could clean out those Augean stables.

      In those malodorous little alleys, where every prospect pleases and every scent is vile, nobody really walks; veiled figures glide softly as if to inaudible music; ladies, muffled up to their eyes, use those solitary features with great effect upon the casual passer-by; old Moors, in stately robes, emerge with stealthy tread from half-unseen doorways; boys clad in a single shirt sit and play pitch-and-toss for pence on dark steps. Everything reeks impartially of dirt and of mystery. All is gloom and shade. You could believe anything on earth of that darkling old town. There all Oriental fancies might easily come true, all fables might revive, all dead history might repeat itself.

      These two incongruous worlds, the ancient and the modern town, form the two great divisions of Algiers as the latter-day tourist from our cold North knows it. The one is antique, lazy, sleepy, unprogressive; the other is bustling, new-world, busy, noisy, commercial. But there is yet a third Algiers that lies well without the wall, the Algiers of the stranger and of the winter resident. Hither Mr. Cook conducts his eager neophytes; hither the Swiss innkeeper summons his cosmopolitan guests. It reaches its culminating point about three miles from the town, on the heights of Mustapha Supérieur, where charming villas spread thick over the sunlit hills, and where the Western visitor can enjoy the North African air without any unpleasant addition of fine old crusted Moorish perfumes.

      The road to Mustapha Supérieur lies through the Bab-Azzoun gate, and passes first along a wide street thronged with Arabs and Kabyles from the country and the mountains. This is the great market road of Algiers, the main artery of supplies, a broad thoroughfare lined with fondouks or caravanserais, where the weary camel from the desert deposits his bales of dates, and where black faces of Saharan negroes smile out upon the curious stranger from dense draping folds of some dirty burnouse. The cafés are filled with every variety of Moslem, Jew, Turk, and infidel. Nowhere else will you see to better advantage the wonderful variety of races and costumes that distinguishes Algiers above most other cosmopolitan Mediterranean cities. The dark M’zabite from the oases, arrayed like Joseph in a coat of many colors, stands chatting at his own door with the pale-faced melancholy Berber of the Aurès mountains. The fat and dusky Moor, over-fed on kous-kous, jostles cheek by jowl with the fair Jewess in her Paisley shawl and quaint native head-gear. Mahonnais Spaniards from the Balearic Isles, girt round their waists with red scarves, talk gaily to French missionary priests in violet bands and black cassocks. Old Arabs on white donkeys amble with grave dignity down the center of the broad street, where chasseurs in uniform and spahis in crimson cloaks keep them company on fiery steeds from the Government stud at Blidah. All is noise and bustle, hurry, scurry, and worry, the ant-hill life of an English bazaar grotesquely superimposed on the movement and stir of a great European city.

      You pass through the gates of the old Moorish town and find yourself at once in a modern but still busy suburb. Then on a sudden the road begins to mount the steep Mustapha slope by sharp zigzags and bold gradients. In native Algerian days, before Allah in his wisdom mysteriously permitted the abhorred infidel to bear sway in the Emerald City over the Faithful of Islam, a single narrow mule-path ascended from the town wall to the breezy heights of Mustapha. It still exists, though deserted, that old breakneck Mussulman road a deep cutting through soft stone, not unlike a Devonshire lane, all moss-grown and leafy, a favorite haunt of the naturalist and the trap-door spider. But the French engineers, most famous of road-makers, knew a more excellent way. Shortly after the conquest they carved a zigzag carriage-drive of splendid dimensions up that steep hill-front, and paved it well with macadam of most orthodox solidity. At the top, in proof of their triumph over nature and the Moslem, they raised a tiny commemorative monument, the Colonne Voirol, after their commander’s name, now the Clapham Junction of all short excursions among the green dells of the Sahel.

      The Mustapha road, on its journey uphill, passes many exquisite villas of the old Moorish corsairs. The most conspicuous is that which now forms the Governor-General’s Summer Palace, a gleaming white marble pile of rather meretricious and over-ornate exterior, but all glorious within, to those who know the secret of decorative art, with its magnificent heirloom of antique tiled dados. Many of the other ancient villas, however, and notably the one occupied by Lady Mary Smith-Barry, are much more really beautiful, even if less externally pretentious, than the Summer Palace. One in particular, near the last great bend of the road, draped from the ground to the flat roof with a perfect cataract of bloom by a crimson bougainvillea, may rank among the most picturesque and charming homes in the French dominions.

      It is at Mustapha, or along the El Biar road, that the English colony of residents or winter visitors almost entirely congregates. Nothing can be more charming than this delicious quarter, a wilderness of villas, with its gleaming white Moorish houses half lost in rich gardens of orange, palm, and cypress trees. How infinitely lovelier these Eastern homes than the fantastic extravagances of the Californie at Cannes, or the sham antiques on the Mont Boron! The native North African style of architecture answers exactly to the country in whose midst it was developed. In our cold northern climes those open airy arcades would look chilly and out of place, just as our castles and cottages would look dingy and incongruous among the sunny nooks of the Atlas. But here, on the basking red African soil, the milk-white Moorish palace with its sweeping Saracenic arches, its tiny round domes, its flat, terraced roofs, and its deep perspective of shady windows, seems to fit in with land and climate as if each were made for the other. Life becomes absolutely fairy-like in these charming old homes. Each seems for the moment while you are in it just a dream in pure marble.

      I am aware that to describe a true Moorish villa is like describing the flavor of a strawberry; the one must be tasted, the other seen. But still, as the difficulty of a task gives zest to the attempt at surmounting it, I will try my hand at a dangerous word-picture. Most of the Mustapha houses have an outer entrance-court, to which you obtain admission from the road by a plain, and often rather heavy, archway. But, once you have reached the first atrium, or uncovered central court, you have no reason to complain of heaviness or want of decoration. The court-yard is generally paved with parti-colored marble, and contains in its center a Pompeian-looking fountain, whose cool water bubbles over into a shallow tank beneath it. Here reeds and tall arums lift their stately green foliage, and bright pond-blossoms rear on high their crimson heads of bloom. Round the quadrangle runs a covered arcade (one might almost say a cloister) of horse-shoe arches, supported by marble columns, sometimes Græco-Roman antiques, sometimes a little later in date, but admirably imitated from the originals. This outer court is often the most charming feature of the whole house. Here, on sultry days, the ladies of the family sit with their books or their fancy-work; here the lord of the estate smokes his afternoon cigar; here the children play in the shade during the hottest African noon-day. It is the place for the siesta, for the afternoon tea, for the lounge in the cool of the evening, for the joyous sense of the delight of mere living.

      From the court-yard a second corridor leads into the house itself, whose center is always occupied by a large square court, like the first in ground-plan, but two-storied and glass-covered. This is the hall, or first reception room, often the principal apartment of the whole house, from which the other rooms open out in every direction. Usually the ground-floor of the hall has an open arcade, supporting a sort of balcony or gallery above, which runs right round the first floor on top of it. This balcony is itself arcaded; but instead of the arches being left open the whole way up, they are filled in for the first few feet from the floor with a charming balustrade of carved Cairene woodwork. Imagine such a court, ringed round with string-courses of old Oriental tiles, and decorated with a profusion of fine pottery and native brasswork, and you may form to yourself some faint mental picture of the common remodeled Algerian villa. It makes one envious again to remember how many happy days one has spent in some such charming retreats, homes where all the culture and artistic taste of the West have been added to all the exquisite decorative instinct and insight СКАЧАТЬ